
Class 



Book 



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%03o 



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Copyright N" ' ^ \ ^ 



COP«?!GHT DEPOSIT. 



Automobile Painting 

and 

Carriage and Wagon Painting 



A Practical Instruction Book Covering Every Detail of 

the Latest and Best Methods Specially Designed 

for the Average Painter and Car Owner 



By 

F. N. VANDERWALKER 

Paint Information Bureau, Carter White Lead Co., Chicago; 
Graduate in Commerce, Northwestern University; Author 
of "Estimates, Costs and Profits, House Paint- 
ing and Interior Decorating" 



ILLUSTRATED 



CHICAGO 

FREDERICK J. DRAKE & CO. 

Publishers 



T5 ^036 



Copyright 1919 
By FRBt)ERICK J. DRAKE & CO. 

Copyright 1917 

By F. N. VANDERWALKER 

All Rights Reserved 




« r 
t < < 



UL,1 24 1919 



©CI.A535434 






PREFACE. 

The purpose of this book is to present the prac- 
tices of today useful in painting and refinishing auto- 
mobiles, carriages and commercial vehicles by the 
painter or the car owner. 

Many cars are now painted by those who are with- 
out much information or experience concerning such 
work. Under such circumstances the effort seldom 
results in a fine appearing surface, but had they known 
what kind and how much preparation of the surface 
is necessary to insure a beautiful finish, what materials 
and tools to use as well as how to use them, and the 
general requirements, they might easily have succeed- 
ed with no more effort. 

To supply this needed information, to give definite 
answers to the specific questions which naturally arise 
concerning details and to furnish a practical working 
method is the aim of this work. 

THE AUTHOR. 



CONTENTS 

PAGE 

Section Numbers 6 

Operation Numbers 7 

CHAPTER I 
Who Can Paint an Automobile? 9 

CHAPTER n 
Materials n 

CHAPTER HI 
Tools . 19 

CHAPTER IV 
How Many Coats ? — Where to Paint the Car — How 
Much Material? — Drying Conditions — The Mixing 
OF Colors, Pigments and Liquids 26 

CHAPTER V 
Finishing the New Car 37 

CHAPTER VI 
Taking Care of the Auto Finish — Lake Color Pig- 
ments — Finishing Engines — Painting the Car 
White 87 

CHAPTER VII 
A Quick Job — New Cars 94 

CHAPTER VIII 
Refinishing Old Cars — A First Class Job — A Quick Job 100 

CHAPTER IX 
Initials and Monograms 116 

CHAPTER X 
A Touch-Up and Varnish Job 130 

CHAPTER XI 
The Automobile Paint Shop 135 

CHAPTER XII 
Carriage and Wagon Painting 150 

CHAPTER XIII 

Factory Painting Methods — Spraying, Flowing, Dipping 

and Baking 156 

CHAPTER XIV 
The Enameling Process 196 

CHAPTER XV 
Color Schemes 200 



AUTOMOBILE PAINTING 



SECTION NUMBERS 

The following subjects are arranged in sections and num- 
bered for quick reference. 

PAGE 

1. How Many Coats? . 27 

2. Where to Paint the Car 29 

3. How Much Material 30 

4. Drying Conditions 31 

5. The Mixing of Colors, Pigments and Liquids- . 33 

6. Schedule of Operations — New Cars .... 36 

7. Rubbing Mouldings 52 

8. Rubbing Large Flat Areas 53 

9. Rubbing Curved Small Surfaces . . . . . 57 

10. Rubbing Lead Ground Coats 57 

11. Rubbing Varnish 58 

12. Ground Colors 60 

13. Flowing on Varnish 71 

14. Taking Care of the Auto Finish .,.,,. 87 

15. Lake-Color Pigments 88 

16. Finishing Engines . .91 

17. Painting the Car White ........ 91 

18. A Quick Job Schedule 95 

19. The Quickest Job 97 

20. Refinishing— Old Paint to Be Removed . . . 106 

21. Refinishing— Old Paint Not to Be Removed . . 107 

22. Refinishing— A Quick Job Ill 

23. Renewing Auto Tops 114 

24. Brass Varnish and Lacquer 114 

25. Finishing a New Carriage 150 

26. Refinishing a Carriage 153 

27. Wagon Painting 154 

28. Touch-Up and Varnish Jobs — Wagons .... 155 

29. Spraying Paint, Varnish, etc 165 

30. Flowing on Paint and Varnish 178 

3L Dipping 187 

32. Baking 189 



AUTOMOBILE PAINTING 



OPERATION NUMBERS 

The following operations are arranged in sub-divisions and 
numbered for quick reference. 

PAGE 

1. Cleaning the Surface Zl 

2. Sandpaper to Roughen Up 38 

3. Priming Coat 39 

4. Putty 42 

5. Sandpapering 43 

6. Dust Off— Wash . . 44 

7. Roughstuff Filler 45 

8. Stain Guide Coat 49 

9. Rubbing — Pumice and Water 50 

10. Lead Ground Coats 59 

11. Horse Hair Rub . 62 

12. Knifing Lead and Glaze Putty 62 

13. Japan Color — with Turpentine 64 

14. Japan Color — with Varnish 67 

15. Rubbing Varnish — with Color 68 

16. Rubbing Varnish — Clear 76 

17. Body Finishing Varnish 77 

18. Polish Ready for Service . . . . ■ . , . . 78 

19. Japan Color — with Finishing Varnish .... 79 

20. Chassis Finishing Varnish 80 

21. Ivory or Coach Black 81 

22. Black Japan 81 

23. Wood Filler 83 

24. White or Tinted Enamel Wheels 84 

25. Natural and Stained Wood Finish 85 

26. Stains 85 

27. Removing Mud and Grease 101 

28. Removing Old Paint 102 

29. Filling Holes, Dents and Cracks 103 

30. Taking Off Wax Coatings 104 

31. Touching Up Bare Spots 105 



AUTOMOBILE PAINTING 



CHAPTER I 
Who Can Paint an Automobile? 

Can a car really be given a fine finish outside of an 
automobile factory? Painters, and especially carriage 
painters, know it can, and so that question does not 
come up with them. At any rate it is entirely possible 
and practicable for a car owner, a house painter or an 
automobile mechanic to produce a presentable job, if 
he will but use the same intelligence exhibited in his 
every day line of work, provided he doesn't let his zeal 
to view the finished effect run away with his judgment, 
and so rush along with the painting process so fast 
that the job is spoiled. Carelessness about details 
always goes with hurried work. Paint and varnish 
are materials which must have their own good time 
to dry, if really long service is expected of them. 

To the car owner the painting offers a considerable 
saving in money, since he can do the job for the cost 
of materials. The sport of driving a car to many men 
comes largely from the feeling of independence which 
a full understanding of every detail of construction, 
operation and maintenance gives. Mechanics, and 
those who have been mechanics in various trades, 
especially are in this class. Then there are others 
with whom it is strictly a matter of economy in main- 
tenance, because upon their ability to keep down the 
expense of operating a car depends their right to af- 
ford the pleasure of owning one. One can paint his 
car for about ten dollars or less, when it would cost 
fifty to seventy dollars to have others do it ; there is 
quite some saving to pay for the trouble. 

To house and sign painters the field of automobile 
painting offers a large opportunity to develop a paying 
business. It is without the keen competition under 



10 AUTOMOBILE PAINTING 

which they are working. It offers steady employ- 
ment, and especially an income for the dull seasons. 

The garage owner whose winter income depends 
largely on rentals and overhauling jobs will find the 
painting of cars generally repaired to be a profitable 
addition to his earnings. He has the room usually, 
and needs but to study the work to be able to handle 
it. Rebuilt cars which he may be holding for sale 
offer an excellent opportunity to increase his profit. 
A few coats of paint and varnish have sold more cars 
than much talking ever did. Painting really increases 
the value of an automobile as well as to make it sell 
more easil}^ 

Before you have gone very far into this book, you 
will readily see that it does not present any wonderful 
new material by the use of which you can perform 
such a miracle as producing a really fine and artistic 
finish on an automobile body with but one or two coats 
and without the use of time tried filling and surfacing 
methods. Frankly, it cannot be done, as you will 
readily agree after having tried it. Any method which 
produces a finish of good appearance requires time 
and more labor than the brushing on of one or two 
coats of materials. Later in this work finishing meth- 
ods will be given which require the minimum of labor, 
number of coats, time and expense and which will at 
the same time result in a good looking, serviceable 
finish. 



CHAPTER II. 
Materials 

The materials used for automobile painting deter- 
mine in a large degree the success which will be met 
.with on completing the job. They are so important 
that the most skillful of mechanics cannot, with poor 
materials, turn out a job of painting that is either good 
to look at or durable. Not only is the use of cheap 
material unsuccessful, but likewise the wrong mate- 
rials of even the finest quality fail as completely to 
accomplish the desired result. Probably more at- 
tempts at automobile painting fail because improper 
materials are used than for all other reasons combined. 
When for instance, oil is used as a thinner in place of 
turpentine the coat neither dries nor hardens as it 
should to stand the necessary rubbing, leveling and 
smoothing processes. When ordinary house colors 
ground in oil are used in place of colors ground in 
turpentine or japan a greasy coat results which does 
not dry properly. And the use of cheap or improper 
varnishes leads, usually, to the most disreputable ap- 
pearing surfaces one is able to imagine. Even with 
their discouraging appearance they are not durable 
enough to justify the time spent on them. 

Anyone who will take up a pencil and figure the 
probable cost of materials needed for painting the aver- 
age car, will quickly see how wasteful of time and 
material, how far from being economical it is to buy 
cheap materials. True enough, first class automobile 
varnish costs four to eight dollars per gallon, while 
three dollars will buy a gallon of ordinary varnish — 
but only about half a gallon is needed for the average 
car, so the cost of the finishing varnish is but two to 
four dollars. In the same manner the colors and other 
materials cost a little more than ordinary goods, but 
the quantity of each needed is so small that the total 



12 AUTOMOBILE PAINTING 

cost is only about one tenth the cost of a finished job 
turned out of an auto painting shop. 

Use the very best materials you can buy, and only 
such as have been especially made for automobile and 
carriage painters' use. Have no faith in the many 
ready mixed paints and so-called carriage color var- 
nishes which are claimed to give you a wonderful fin- 
ish in one or two coats without preparing the surface, 
when the most skillful professional automobile painter 
himself cannot produce a job of respectable appear- 
ance and reasonable durability without the necessary 
filling and rubbing processes and with less than six or 
eight coats. 

A complete list of the materials needed follows: 

Red Lead, for priming metal surfaces. 

Metal Primer, such as can be had from all well 
known varnish manufacturers. Made especially for 
metal auto bodies and chassis. 

White Lead in oil, strictly pure Carter Coach & 
Car Lead preferred. 

Roughstuff. It can be purchased in the form of a 
heavy paste, in one pound cans and larger, at about 
twenty cents per pound from varnish and color manu- 
facturers. It should be thinned to stout brushing con- 
sistency, about like thick cream, with turpentine and 
it is then ready to be brushed on. It comes light or 
dark for use under light tints or dark colors. The 
man who has but one or two cars to paint had best 
buy his roughstuff ready for use. The painter with 
a shop can make it more cheaply where a quantity can 
be used. The materials needed are white lead and 
what is called ''Keystone Filler," ground in japan and 
varnish. The formulae will be given under the, proper 
heading. Keystone Filler sells at about $1.65 per gal- 
lon and 90c per half gallon. 

Dry White Lead for rnaking putty. 

Dry Bolted Whiting, for putty. 

Linseed Oil, Raw. 

Turpentine. 

Japan Gold Size or Coach Japan — cost about 85c 



AUTOMOBILE PAINTING 13 

per quart. A liquid to be used to bind paint and 
cause it to dry hard. When used as the liquid with 
putty and fillers it causes them to set quickly and very 
hard. It may be purchased from varnish makers and 
paint jobbers. 

Varnishes. There are several varnish manufac- 
turers who make first class automobile varnishes. The 
Sherwin-Williams Co., Chicago, and Valentine & Co., 
Chicago, are probably to be preferred from among the 
American manufacturers, while Robt. Ingham Clark 
& Co.'s products are among the best English varnishes 
for automobiles ; they may be purchased through paint 
jobbers, as Pratt & Lambert, Chicago, have the Amer- 
ican agency. 

A Quick Rubbing Va-rnish, or what the English 
call Flatting Varnish, is needed for mixing with the 
second color coat and to be used clear as the first var- 
nish coat. It drys hard, dust free in six or eight hours, 
and may be rubbed in about 48 hours. 

An elastic rubbing varnish would seem to be the 
best for the reason that it allows more freedom and 
time in working and enables the painter to flow on 
say an entire wheel or part of gear and then return and 
lick the defects or thick edges out in time for the whole 
mass to flow together in a body. Thick edges, laps, 
etc., should be avoided, and, naturally, they can best 
be eliminated by using an elastic varnish that sets 
slowly enough to allow for catching up any possible 
defects without pulling the coats in layers or causing 
them to pile up. 

Color Varnishes are generally about the same as 
rubbing varnishes except that a certain amount of 
Japan color has been mixed into them. They may be 
purchased in most standard colors. They can be 
rubbed the same as rubbing varnishes and are used 
in place of them. 

For the last coat what is called Body Finishing 
Varnish is needed. It is more elastic, dries more 
slowly and not so hard as rubbing varnish. 

As a rule ordinary carriage varnishes are not very 



14 AUTOMOBILE PAINTING 

durable on automobiles, because of the hard usage re- 
sulting from so much vibration, mud, oil, grease, road- 
oil and the dust driven against the car by its great 
speed. The varnishes made especially to withstand 
these conditions had best be used. 

The line of automobile varnishes of one of the best 
known manufacturers is listed below: 

Price 
Per Gal. 

Body Varnish «.. $6.00 

For Finishing Coats Only. 

Finishing Varnish 5.00 

For Finishing Coats Only. 

Chassis Finishing 5.00 

The Best Finish for the Hoods, Fenders and Under- 
parts of Automobiles. 

Gear Varnish 4.50 

For Finishing Coats where a heavier, quicker Var- 
nish than the Body or Finishing is desired. 

Quick Gear Varnish. 3.50 

For Finishing Coats on Quick Work. 

Quick Finishing 4.50 

For Finishing any Equipment where a very quick 
Hard Drying Finish is required. 

Leveling Varnish 4.00 

A 36 to 48 hour Rubbing. 

Flatting Varnish 3.00 

An 18 to 24 hour Rubbing. 

Pale Body Varnish 6.00 

For Finishing Coats where a paler Varnish than our 
regular Body is desired. 

Pale Gear Varnish 5.00 

For Finishing Coats where a heavier, quicker Var- 
nish than our Pale Body is desired. 

Pale Quick Gear Varnish 4.00 

For Finishing Coats on Quick Work where a paler 
Varnish than our Quick Gear is desired. 



AUTOMOBILE PAINTING 15 

Pale Leveling Varnish 5.00 

A 48 hour Rubbing for use where a paler Varnish 
than our Leveling is desired. 

Pale Flatting Varnish 4.00 

A 24 hour Rubbing for use where a paler Varnish 
than our Flatting is desired. 

Black Japan. For black fenders, chassis and hood 
what is called Black Japan is often used as undercoats 
of varnish. It is in reality a hard drying varnish which 
is not transparent, and which dries in eight or nine 
hours and may be rubbed in 48 hours. It may be used 
as a finishing varnish for these parts also, or coated 
with a regular chassis finishing varnish. 

It is not advisable to use two different brands of 
varnish on the same car; that is, if two coats of rub- 
bing varnish are used take the varnish from the same 
can for both coats. Likewise do not use two different 
brands of finishing varnish on a car which receives 
two finishing coats. There is a difference in elasticity 
between different brands of the same kinds of varnish. 
When the surface gets hot from the sun or the engine 
one varnish coat may expand more than the other and 
cause what is called "crazing," which means small 
hair lines or cracks in the varnish. 

Enamel. When wheels are to be white, cream, 
Ivory, straw or some such light delicate tint you can 
do no better than to use one of the first class white 
enamels made for house work, after giving the nec- 
essary ground coats as mentioned later. The two best 
known enamels for this purpose are the English prod- 
uct called *'Vitralite," sold by Pratt & Lambert, Chi- 
cago, and the Dutch enamel called "Ripolin," sold by 
most paint jobbers. Both come only in the white, but 
can readily be changed to any light tint by adding the 
right color ground in japan as listed later in this chap- 
ter. These enamels are put up in cans from one-fourth 
pint at about 20c, a quart at $1.35, half gallon at $2.60, 
and one gallon at $5.00. 

Liquid Paint and Varnish Remover. This prepara- 
tion will be a labor saver when removing old paint 



16 AUTOMOBILE PAINTING 

and varnish from wheels and other parts, although 
the paint burner or gasoline blow torch is more useful 
for many surfaces. This liquid remover can be had 
from any paint dealer. 

Colors. Colors used for automobile painting are 
ground in Japan. Colors ground in oil are not suit- 
able, except for tinting ground coats. The so-called 
carriage paints carried by most paint stores are of no 
use at all for this purpose, they are simply colors and 
varnishes mixed together, useful, perhaps, to paint an 
old wagon when even the wheels are not taken off. 
They produce quick jobs, but their virtues end about 
at that point. 

A complete list of the Japan Colors carried in stock 
by a Chicago jobber follows. They are put up in 1 lb., 
5 lb., 10 lb. and 25 lb. cans. The list prices given are 
subject to 50% discount to painters. Varnish manu- 
facturers also make such colors and all paint jobbers 
can supply them. Japan colors come in paste form 
and are to be thinned to brushing consistency with 
turpentine and thoroughly beat up. 



SUPERFINE COACH PAINTERS' COLORS. 
For Coach, Carriage and Car Work. The Best Ever Made. 

These colors are ground in japan and will dry at once. 

Put up in one pound cans or five pound press cans. 

Per lb. Per lb. 

Black, Coach Painters' Blue, Ultramarine 88 

Drop $0.44 Brown, Russett 80 

Black, Ivory 52 Brown, Vandyke 44 

Black, Jet 66 Car Body Color 54 

Black, Lamp 44 Car Body Color, Pull- 
Black, "Monogram" man 60 

Drop 40 Dutch Pink 70 

Blue, Azure .54 Green, Apple (^ 

Blue, Permanent 1.00 Green, Brewster Light 

Blue, Perfect 1.50 or Dark 56 

Blue, Cobalt 1.20 Green, Brilliant 70 

Blue, Peacock 90 Green, Bronze 70 

Blue, Prussian 1.10 Green, Concord 56 

Royal Purple 1.70 Green, Coach Painters', 



AUTOMOBILE PAINTING 



17 



Per lb. 

Light, Medium or 

Dark 60 

Milori Green 1.50 

Green, Merrimac, L. M. 

or D .70 

Green, New Haven 90 

Green, New 1.10 

Green, Olive 66 

Green, Quaker 60 

Green, Sage 70 

Garnet Color 90 

Imitation Gold Striping. 1.20 

London Smoke 80 

Olive Brown 70 

Golden Ochre 44 

Red, Amesbury 1.00 

Red Ascot, light or dark 1.10 

Red, Bostonia 90 

Red, Brilliant 1.20 

Red Carmona, light or 

dark 1.30 

Red, Chicago 84 

Red, Coach Painters' ... 1.00 

Red, Cart 70 

Red, Coral 1.00 

Red, Eastern 1.20 

Red, Indian 42 

Red, Mystic 1.60 

Red, New Haven 1.60 

Red, Merrimac 1.00 

Red, Permanent 72 

Red, Tuscan 48 

Rose, Pink 48 

Russett Color 70 

Jersey Tan 70 

Straw Color 70 

Sienna, Italian, raw or 

burnt .50 

Umber Turkey, raw or 

burnt 50 

U. S. Mail Red 1.00 

Vermilion, American, 



Per lb. 

light or dark 54 

Vermilion, Bay State... .84 
Vermilion, English, light 

or dark 1.70 

Vermilion, unfading 72 

Vermilion, one coat 60 

Vermilion, Eureka 1.00 

White, Flake 60 

Yellow, Canary 76 

Yellow, Chrome, light, 

medium or dark. ..... .56 

Yellow, Chrome, extra 

light 60 

Yellow, Concord 56 

Yellow, Milori 1.20 

Yellow, Naples, light or 

dark 1.10 

Yellow, Perfect, light or 

dark 2..^0 

YeDow, Street Car 1.50 

Yellow, Primrose 80 

LAKES. 

Per*lb. 

Carriage P?rt Lake $0.90 

Carmine, No. 40, 1-lb. 

cans 9.00 

Carmine, No. 40, ^-Ib. 

cans Per can 4.50 

Carmine, No. 40, ^-Ib. 

cans Per can 2.50 

Carmine Lake A 4.00 

Green Lake 4.00 

Munich Lake A 3.00 

Opaque Carmine 3.00 

One Coat Claret 1.00 

One Coat Scarlet 1.34 

Ground for Carmine.... 1.20 

Rose Lake 1.40 

Scarlet Lake 3.50 

Wine Color, A 44 

Wine Color, B 48 

Yellow Lake 2.50 



White. The white pigrnent to be used with the 
above colors for the most part for making various tints 
and shades is listed as Flake White. This is pure 
white lead under a different name. It is ground a little 



18 AUTOMOBILE PAINTING 

finer than the grade of white lead sold for house paint- 
ing and with japan or turpentine for the carriage 
trade, rather than linseed oil. Otherwise the two 
products are identical. 

For ground color coats and, in fact, in most places 
where white is needed the regular white lead ground 
in oil for house painting is suitable, if care is taken to 
get a pure lead that is very fine and really white. See 
that you get Carter White Lead and you will have 
the whitest and finest in the land. A special grind of 
this lead known as Coach and Car Lead is made for 
the automobile and carriage trade. 

For use in lightening up colors which for the most 
part are transparent or semi-transparent white lead 
is not the best. Zinc oxide, which can be had from 
most any paint stock, is not so opaque as lead and is 
better for this purpose where covering capacity is not 
wanted. 

When using for auto painting, either white lead 
or zinc ground in oil, the oil is sometimes drawn from 
the lead. To accomplish this mix the lead or zinc 
paste with turpentine, using enough of the liquid to 
make the paste rather too thin for use with a brush. 
When thoroughly mixed let stand 24 hours, or better 
yet 48 hours. The oil and turpentine will rise to the 
top and may be poured oi¥, leaving the lead in the bot- 
tom of the pot. Mix the lead thus left with fresh 
turpentine and it is ready for use alone or as a base 
for light colors. 

Wheels which are to be finished pure white, ivory 
white, straw, cream or some such very light tint may 
be built up with pure white lead coats and finished 
with two coats of high grade white enamel put up for 
house decorating. 

By adding raw sienna to the white enamel a straw, 
ivory or cream color is produced for finishing coats. 
Ground coats had best be white. Likewise any light 
tint may be had by adding the proper japan color in 
very small amount to the white enamel. 



CHAPTER III. 

Tools 

What was said in the previous chapter about the 
economy and wisdom of using the very best materials 
is equally true of tools, with special reference to 
brushes. The sins of a poor brush, whose only ambi- 
tion in life seems is to become bald, are indeed great 
if not numerous. And the poor brush usually, but 
not always, is the cheap brush. Brush makers, like 
most manufacturers, are honest and if you pay for a 
really good brush generally you get it, unless some re- 
tailer sells you, at the price of a good brush, what the 
manufacturer sold him as a cheap one. At any rate 
buy well known, trade marked brushes having the 
manufacturer's name on them, preferably the **Rub- 
berset" brushes or those whose bristles have been 
vulcanized in solid rubber. Then you will get what 
you pay for, brushes that will not lose bristles to mar 
your paint or varnish and waste your time picking 
them out, brushes having the correct shape, the right 
spring and good quality of bristles. 

Below are listed the brushes which an automobile 
painter must have to get along. The car owner who 
has but one car to finish may get along with fewer 
in number, but certainly he should not attempt to do 
without equally good brushes. 

Brushes for Primer, Roughstuff and Lead Coats. 

Use for large surfaces a first class Oval Varnish Brushy 
preferably set in rubber, like Figure 1, costs about 
$1.50 each. The bristles are usually Chinese Black. 
For small surfaces and mouldings one inch and three 











Bead]r to* Vae. 



Straliilngr Otip 



Beady for Stxainlntr. 
FIGURE 7 





FIGURE 5 




FIGURE 8 



AUTOMOBILE PAINTING 21 

inch flat varnish brushes made of best French bristles 
or of the same bristles and set in rubber are most suit- 
able. Figure 2 shows such brushes. A one inch size 
at 50c each and a three inch at about $1.50 each will 
serve the purpose. 

Brushes for Color Coats. Color coats require more 
care to secure an even distribution free from laps, 
brush marks and rough places than any other coats, 
not excepting varnish coats. Varnish coats help 
themselves considerably by flowing together and level- 
ing up, which eliminates these defects, but color coats 
will plainly show careless and crude brush work, es- 
pecially with varnish over them to emphasize the 
defects. All of which goes to show that just the right 
kind of brushes are necessary for spreading color 
coats. The best color brushes for this purpose are 
called "Double Thick Camel Hair," "Badger or Ox 
Hair Color Brushes." They ar€ made in various sizes, 
a one inch at about 50c each and a three inch at about 
$1.80 each are sufficient, usually. Where more than 
one color is being used at the same time it is, of course, 
necessary to have a set of brushes for each color. 
These brushes are flat with rather shorter and softer 
hair than bristle brushes have. See Figure 3. Every 
retailer of paint usually has a line of cheap camel hair 
brushes which are no earthly good for this work, nor 
for any other so far as the author knows, except to 
sell. If you cannot get a really good Badger Flow- 
ing Brush or a Camel Hair Color Brush, by all means 
use the flat Chinese Bristle rubberset brushes specified 
for priming, for roughstuf¥ and lead coats. Do not, 
however, condemn any brush without a fair trial. Most 
new brushes lose a few hairs at first. Many of them 
can be shaken out while the brush is dry. You know, 
of course, that no brushes are made of real camel hair, 
but rather the hair is taken from such fur bearing ani- 
mals as the Russian Gray Squirrel. 

Brushes for Varnish Coats. The choice of brushes 
for use in putting on the varnish coats seems to be 
pretty well settled as between two general styles. The 



22 AUTOMOBILE PAINTING 

first choice is called an ''Extra Fitch Hair Flowing 
Brush, Double Thick." Substantially the same kind 
of a brush is listed as a "Badger Hair Flowing Brush, 
Double Thick." Figure 4 shows the style of both 
brushes, with a long handle and fairly short bristles. 
They are best set in rubber and once they have been 
"''broken in," as the painter calls it, they are a joy to 
work with on fine varnish surfaces. These brushes are 
flat and made in various sizes. A one inch brush at 
about 70c each and a three inch at about $1.60 each, 
will serve the purpose nicely, although in a shop do- 
ing considerable business several brushes of each kind 
are needed. 

The second varnish brush which deserves mention 
is made about the same style and shape but in place 
of Fitch or Badger Hair they are made of selected 
Chinese Bristles or the finest French White Bristles. 
Such brushes have their virtues, to be sure. Being 
made with longer bristles and thicker they carry a 
larger quantity of varnish, which is an advantage on 
large surfaces. The stiffer nature of the brush appeals 
to the man with strong arm muscles as he can spread 
the varnish about more quickly than with a soft, short 
hair brush. The soft hair brush lays the varnish on 
in a finer manner but the long bristled, firmer brush 
lays the varnish so fast that it really flows together 
and levels up, making as fine a finish in the end. 

All brushes are better for having been used awhile. 
Automobile painters use their new varnish finishing 
brushes in the lead coats first, then in rubbing varnish 
coats, in chassis finishing and finally for finishing coats 
of varnish on the body. With this in mind, then, it 
may be well for one who has but a single car to paint 
to buy simply two or three first class finishing varnish 
brushes ; that is, the Fitch or Badger Flowing Brushes 
mentioned, and one three inch flat rubberset bristle 
varnish brush for spreading roughstuff, which is too 
stiff to be spread with so soft a brush as those men- 
tioned. After the roughstuff coats have been laid on 
such a brush will be very useful to dislodge pumice 



AUTOMOBILE PAINTING 23 

Stone from crevices and panel corners while washing 
up after rubbing. 

While we are thinking about brushes it is in order 
to specify the manner in which good brushes ought 
to be cared for: 

Any brush which has to be used again next day 
may most conveniently be left right in the pot of 
paint or varnish, taking care to see that the bristles, 
not the handle or metal ferrule, are covered most of 
the way up with material, and that the whole pot and 
brush are covered over with paper to be dust tight. 

In the paint shop where the brushes are used at 
intervals of several days or weeks the brushes should 
be filled, each with their respective materials, and 
carefully put away in pots or tanks in an upright po- 
sition, with the bristles off the bottom. 

Primer, Roughstuff and Lead Coat brushes are to 
be put away in a bath of raw linseed oil. The oil 
ought to be changed every few weeks so it will not 
become fatty or rancid from oxidation. Hang the 
brushes upright with bristles off the bottom. 

Color Brushes used at short intervals ought to be 
filled with the color and suspended upright in pots or 
tanks full of water covering the bristles or above. Keep 
the bristles off the bottom, so they may not curl up 
and also to keep them out of the sediment and skins 
accumulation on the bottom. 

Varnish Brushes may be cared for the same as 
color brushes except that the bath should be varnish,, 
not water. Finishing brushes should preferably be 
stored in finishing varnish to cover the bristles com- 
pletely, heel and metal ferrule over the top. Wire 
Brush Suspenders as shown in Figure 5 are a great 
convenience. 

All brushes which are not to be used again should 
be wiped out on a board, then soaked in benzine, kero- 
sene or gasoline and finally washed clean with laundry 
soap and warm water. Lay flat to dry and later wrap 
up in old newspapers and store where they will not 
be too dry. 



24 AUTOMOBILE PAINTING 

Rubbing Materials. There seems to be but little 
choice between sandpaper and the newer material 
called "Steel Wool" for the first cleaning and smooth- 
ing up of the car.' Both materials come in various 
grades of fineness and both are numbered to indicate 
these degrees. The medium fine grades of eithej* ma- 
trials which are marked: No. 0, No. 1, No. 2, are the 
only ones likely to be of use on auto surfaces. 

Rubbing Bricks are used to smooth and level down 
the roughstuff coats in place of pumice stone lumps 
nowadays. These bricks are artificially made of solid 
stones composed of abrasive materials similar to pum- 
ice stone. The bricks are about three by three by five 
inches, flat pieces are sawed off and shaped with a file 
for use. This material comes in three degrees of fine- 
ness and' hardness. ''The Fine Grain Medium" is the 
proper degree for rubbing lead coats, roughstuff and 
varnish. 

The four brands listed by Chicago paint jobbers 
are: 

Birnsstein Rubbing Bricks, No. 3-11, per cake.. $0.15 
Schumacher Fabric Rubbing Bricks, No. 3-11, per 

brick 20 

Eureka Rubbing Stone, per brick 15 

American Rubbing Brick, Thur-Stone, per one 

pound brick 12 

Pumice Stone. Of this material the selected lump 
stone is used to some extent by the auto painter. In 
ten to twenty-five pound lots it costs about 10c per 
lb. Larger quantities about 8c per lb. 

Powdered Pumice is largely used with a felt rub- 
bing pad in place of lump stone. It may be purchased 
from drug stores or paint stocks at about three or 
four cents per pound. Use the fine grade. 

Rubbing Felt. For use in rubbing with powdered 
pumice stone only. Comes ^ and Yi inch thick and 
18 X 18 inches square, to be cut up as needed in con- 
venient sizes. Sold at about $2.00 per lb. 



AUTOMOBILE PAINTING 25 

There are various kinds of rubbing pads on the 
market, one of which is shown in Figure 6. 

Some clean, dry cloths will be handy for wiping 
up the surface for examination. 

A half-round file about 12 inches long is needed 
to square up and plane off lumps of pumice stone or 
rubbing brick, also to hollow out pieces to fit mould- 
ings to be rubbed. 

Pots. Some clean cans holding about a quart are 
needed for each of the different materials. Clean press 
top molasses cans are fine. For shop use the double 
cups with strainer shown in Figure 7 are worth their 
cost. One compartment carries the varnish supply 
and the other is to be used to wipe out the brush in 
after and while using. The varnish wiped off the 
brush usually contains grit taken from the surface. 
This is strained out before the wiped out varnish goes 
back into the large cup. 

Other Tools. For washing, a good size sponge is 
needed ; also a chamois skin or two, some clean cotton 
rags and two ten or twelve quart pails, one for wash- 
ing water and one for rinse water. 

Strainers. Metal screens are especially made for 
straining paint, color and varnish, but, while conve-. 
nient, they are not necessary. A couple of thicknesses 
of cheese cloth tied over the top of a clean pot strains 
your material as effectively as any tool. 



CHAPTER IV. 

How Many Coats? Where to Paint the Car. How 

Much Material? Drying Conditions. The 

Mixing of Colors. Pigments and 

Liquids. 

The automobile finish today is subjected to a far 
more destructive service, and receives less care than 
the carriage of former days. The slow moving car- 
riage with its wood surface offered a much better 
foundation into which to anchor paint and varnish 
coats than the present day steel surface. The auto 
finish must now withstand gravel, dust and mud 
driven against it by the great speed of the moving 
car, it must stand the grease, oil and careless wash- 
ing, the heat and vibration from the engine, the hot 
summer sun beating down upon it, driving rains, hail 
and snow, to say nothing of quick temperature changes 
caused by running the car from a warm garage in 
freezing weather. 

These temperature changes naturally cause a con- 
siderable degree of expansion and contraction of the 
inetal surface, and so, if the paint and varnish coats 
dre not sufficiently elastic to expand and contract with 
the changes to accommodate themselves to the move- 
ments of the surface, the finish is not going to retain 
its beauty for long. Crazing of the varnish, the ap- 
pearance of fine hair line cracks, the cracking and let- 
ting loose of the priming and ground coats soon ac- 
complishes the destruction of the job. 

The painting of an automobile, then, must be done 
within certain limits, in the well established way, to 



AUTOMOBILE PAINTING 27 

insure beauty and durability, a durability such as will 
cause the finish to adhere to the surface without scal- 
ing off and which will resist the hard knocks to which 
the auto is subjected from tools, accidents, and the 
weather. To possess this durability the paint and 
varnish must attach itself firmly to the surface. The 
coats must be soft enough to be elastic, but hard 
enough to resist wear and action from the outside. 
If too much oil is used they will be soft and will 
skin off. If too little oil and too much hard drying 
varnish are used as binders the coats will be so hard 
and brittle as to chip and scale off. Usually the quick- 
est drying coats are the least elastic, the hardest and 
the least durable, while coats whose thinners are pro- 
portioned to dry more slowly are more elastic, most 
durable and hard enough for all practical purposes. 
This is especially true of varnishes. The durability 
of the job depends upon the quality of materials, upon 
using coats which dry not too quickly, allowing plenty 
of time between coats for drying and upon the anchor- 
age gained by the priming coat on the surface. Hav- 
ing all these fundamentals in mind one can the more 
easily see the reason for mixing the paint and varnish 
coats as they are specified hereinafter. 

HOW MANY COATS? 
Section 1. 

The wood surface, because it offers paint an an- 
chorage in its pores not given by metal, will support 
a far greater thickness and weight of paint and varnish 
than steel. It follows, then, that when painting on 
steel the job should be completed in as few coats as 
possible, consistent with producing an even, level and 
ample surface. The wood surface of the slow moving 
carriage was called upon at times to support thirty 
or forty coats, and it did, but such a weight of mate- 
rials is wholly unnecessary on the auto surface ; fur- 
thermore, it wouldn't carry it. This brings us to a 
consideration of the number of coats which are needed. 

Before this question can be answered consideration 



28 AUTOMOBILE PAINTING 

must be given a few others. You must first decide 
how much time can be allowed for the job, then how 
much labor, which latter means expense. The differ- 
ence in material expense as between the very finest 
job and the quickest is not great enough to be worth 
figuring. You can make the method to be used fit the 
price you want to pay. So, you must conclude first 
whether you want the handsomest and most durable 
job which can be produced, an ordinarily nice appear- 
ing job which is quite serviceable or the quickest and 
cheapest job you can get and still have the car look 
well. 

With the old and well established finishing process 
there is little difference in the procedure, as between 
the cheapest and the finest jobs, except that for the 
former the number of coats is decreased, the quality 
of the varnish and color may be lowered a little and 
much less labor is spent in rubbing and leveling proc- 
esses to produce a perfect surface free from every 
blemish. For the high priced cars with the finest fin- 
ish the schedule of operations would, with some slight 
variations by different manufacturers, proceed as be- 
low, using from eighteen to twenty-four coats. 

Priming Coat : 
6 coats Roughstuff Filler. Rub to level down. 
6 ground coats of lead, sandpapering and puttying 

each as needed. Rub with pumice and water. 

2 to 6 coats of flat color thinned with turpentine are 
used, light tints requiring more coats than dark 
colors. 

3 to 4 coats Color Varnish rubbed as needed. 
2 to 3 coats Rubbing Varnish. 

,2 coats Finishing Varnish. 

The medium priced, but still good job, proceeds 
after the same general plan about like this, using ten 
to twelve coats in all: 
Priming Coat: 

2 to 4 coats Roughstuflf Filler. 
2 ground coats of Lead. 
1 coat Flat Color. 



AUTOMOBILE PAINTING 29 

1 coat Color with varnish. 

1 coat Varnish with color. 

1 coat Rubbing Varnish clear. 

1 coat Wearing Body Varnish. 
The quickest and cheapest job with this estabilshed 
method would use about six coats after the same plan 
this way: 

Priming Coat: 

1 coat Roughstuff Filler. 

1 ground coat of Lead. 

1 coat Flat Color. 

1 coat Rubbing Varnish. 

1 coat Wearing Body Varnish. 
The last schedule would seem to be the least that 
can be expected on a new surface to give good service. 
It must be admitted, however, that many a business 
car gets nothing more than the schedule to follow and 
seems to get along pretty well somehow with it: 
Priming Coat : 

1 ground coat of Lead. 

1 Color Coat. 

1 coat Wearing Body Varnish. 
With such a schedule as the last one can do no 
more than color the surface and protect it from rust. 
There is not a sufficient body of material to permit 
any rubbing except the very lightest going over with 
fine sandpaper. Without a good rubbing on rough- 
stuff filler coats a smooth and level foundation cannot 
be had. 

For the purpose of giving complete and specific 
working details it is thought best to choose by way 
of illustration the method for producing a first class 
job at a medium price. The better job is the result 
of an elaboration of this schedule while the cheaper 
one is a contraction from it. See Chapter V. 

WHERE TO PAINT THE CAR. 
Section 2. 

The location of the car while being painted is 9 
most important factor in determining the success oi 



30 AUTOMOBILE PAINTING 

the job. In Chapter XI will be found the complete 
details which go to make up proper working condi- 
tions, and these should be followed as closely as poss- 
ible when painting a car anywhere outside of a regular 
shop. It is hopeless to expect a satisfactory, nice 
appearing job to come from even the best efforts when 
the work is done on a car located in a wood shed, stable 
or some such place where neither the dust, light, tem- 
perature or ventilation can be controlled. An empty 
store building with plaster walls, which can be made 
clean and kept in that condition is a good place to 
paint, after a heating arrangement has been made. 

The car should be thoroughly washed up, inside, 
underside and outside before going into the shop. 
Place it in the shop where the light is best on the rear 
and both sides. Raise up . high enough to permit a 
man to work on the under parts while in a sitting posi- 
tion. Four strong wood saw horses are to be placed 
under the car axles, one on each end. Be sure they 
are steady. Then remove the four wheels, the top, 
bumpers, tire irons, lamps, cushions and all easily 
detached parts, but not the fenders. With the car in 
this position it is ready to be cleaned and finished after 
the manner described in the operations to follow. 

HOW MUCH MATERIAL? 
Section 3. 

The painter will usually buy his materials in quan- 
tity, at least in gallon cans, but the man who has but 
one car to finish wants to know about how much 
varnish, lead, color roughstuff to buy for the job. The 
number of coats and size of the car have some bearing 
on the amount of material needed, to be sure, but the 
list of materials to follow will name the safe quantities 
of each to buy for one car to avoid waste. 

Red Lead, dry or ground in oil 12^ lb. kegs 

White Lead, in oil ..125^ lb. keg 

Roughstuff 5 lbs. 

Whiting, Bolted, dry, for putty 2 lbs. 

tinseed Oil 1 quart 



AUTOMOBILE PAINTING 31 

Turpentine 1 gallon 

Japan Gold Size or Coach Japan 1 pint 

Rubbing Varnish ^ gallon 

Color Varnish 1 quart 

Finish Varnish Y^ gallon 

Black Japan 1 quart 

Enamel for wheels 1 quart 

Colors, of each 2 lbs. 

Powdered Pumice 1 lb. 

Rubbing Bricks 1 

Sandpaper No. 6 sheets 

Sandpaper No. 1 6 sheets 

Felt for rubbing pads 1 sq. f t. 

Two Varnish Brushes. Clean Rags. 

One Color Brush. Cheese Cloth for strainers. 

One Sponge. One File, half round. 

Two Water Pails. Chamois Skin. 

Pots. 



DRYING CONDITIONS. 
Section 4. 

A circulation of dry, dust-free air is what is needed 
more than high temperatures to facilitate the drying of 
paint and varnish. If an even temperature about 70° 
is maintained your materials will work right and dry 
rapidly enough, other conditions being right. 

Ideal shop condition call for a work room with a 
steady temperature of about 70°, and a hot drying 
room having a temperature of from 80° to 100°, but 
steady at one degree or the other. When the ventila- 
tion is fair all paint, color and varnish coats dry rapidly 
under such conditions. The chapter about the pain^' 
shop deals more in detail with the hot drying room. 

With temperature below 70° the paint coats require 
excessive thinning with turpentine and japan to make 
them brush on well, and that shortens the durability 
of the job, because only so much liquid can be used 
with the amount of pigment. When an increased 
quantity of turpentine is used a decreased amount of 
oil or varnish is used and these latter vehicles furnish 
the binder. Turpentine evaporates. 

The very worst kind of drying conditions are those 
hot, muggy days in July when the atmosphere is full 



32 AUTOMOBILE PAINTING 

of moisture. Excessive humidity at any time is an 
interference with proper drying. Do not soak the 
floor with water, by so doing you spread around mois- 
ture which will be taken up by the air and produce 
exactly the condition you want to avoid. 

Varnish coats cannot be handled satisfactorily in 
temperatures below 70°, usually. Cold varnish and a 
cold surface cause much trouble with wrinkles, runs 
and sags. Keep the varnish can in a uniform tempera- 
ture, not too low if you would have it brush out well 
and act normally on the surface. 

Too much haste between coats does not permit 
paint, color or varnish to dry sufficiently hard. Then 
the different coats expand to different degrees later 
when the car stands in a boiling hot sun; — cracking 
and blistering of varnish results. The more time 
allowed between coats the more durable will be the 
job, — other things being done as well as they should 
be. Varnish does not possess its full power of resist- 
ance to the weather and usage until thoroughly dry 
and mature. 

Undercoats must be absolutely dry and hard before 
japan color, especially lake pigments which dry quick- 
ly, are spread on to the surface. It is imperative that 
this rule be observed to avoid having the color and 
varnish coats craze and flake off. It is equally neces- 
sary in order to secure an even shade of a color all 
over the body. The greens in particular will show 
several shades and depths of color when put on over 
ground coats not thoroughly dry and when the color is 
varnished over before it has become dry. 

No coat can be successfully rubbed to smooth and 
level up until perfectly dry. 

Premature application of varnish, that is before 
the undercoats have had time to dry, may cause the 
varnish to sink in and dry with a dull, dead appear- 
ance. A surface having porous suction spots, caused 
by laying on too few coats, may make varnish act in 
the same manner. 



AUTOMOBILE PAINTING 33 

THE MIXING OF COLORS, PIGMENTS AND 
LIQUIDS. 

Section 5. 

Japan colors as they come from the can should 
be thoroughly mixed and beat up with a very little 
turpentine, then enough turpentine may be added to 
thin the paste to brushing consistency. Again, thor- 
oughly mix the turpentine with the color. Add about 
one-fifth or one-fourth (no more) of raw linseed oil 
to the mixture to help bind the color. Some brands 
of Japan colors are made so as to require no binder, 
nothing but turpentine. 

On a new job the roughstufif and ground coats are 
more porous and absorbent than a hard old surface 
to be repainted, so more oil can be used to advantage 
on the former. About one ounce of raw linseed oil 
to 20 ounces of turpentine is correct for the new sur- 
face, while 1 ounce of oil to about 15 ounces of turpen- 
tine may be used on an old surface. Enough oil to 
produce a noticeable gloss ought never to be used, the 
color coats must dry dead flat. Never use any oil 
with Vermilion as it dulls its brilliant color. A little 
varnish may be used to bind it. When any color dries 
too quickly add just a few drops more of oil. 

When you come to the mixing of two or more 
colors together, or making tints and shades by mixings 
colors or black to a white base, the utmost care is 
necessary to insure a very complete mixing of the 
different pigments together, to obtain a uniform color 
and to avoid dark or black streaks of color on your 
surface, due to failure to break up all small lumps of 
pigment. If your color is carefully strained through 
two thicknesses of cheese cloth after thoroughly mix- 
ing there can be no doubt that the pigment is ready for 
use. 

Mix enough color at one time to finish all coats of 
that color. If you run short of color when half over 
the surface, the second batch mixed is sure to show 
a different shade, if not when first finished it will do 



34 AUTOMOBILE PAINTING 

so after wearing awhile. The same may be said about 
mixing any material. Mix enough at once to finish 
the job. 

Don't judge color in the pot, but brush out a little 
on a board to see if dark enough. Color always 
appears darker in the pot than when spread out. Judge 
•color only after thoroughly mixing to make sure the 
tinting color already added has been taken up and 
shows its effect. If only partly mixed the batch will 
get darker later when more thorough mixing occurs, 
or when being brushed on it will show dark streaks. 

The correct procedure in mixing any tint or shade 
requires that a separate clean pot be used for breaking 
up the white base, one for each color pigment and one 
into which the mixture when complete can be strained. 

Start mixing the white base by adding a very little 
turpentine. Stir until all the turps is absorbed by 
the lead, then add more, a little at a time and stir in 
«ach lot, until the mixture is thin enough to brush out 
nicely and not too thin to coyer well. This is the 
quickest way to prepare the white base and the only 
way to break up a batch and avoid having lumps in it. 

Each color pigment is to be beat up, thinned and 
mixed in exactly the same way with turpentine and 
each in a separate pot. 

When all have been well mixed begin adding the 
colors to the white cautiously and a very little at a 
time, stirring each dose of color into the white before 
adding more. Some colors are very strong. Prussian 
Blue, for instance, is so strong that so small an amount 
as one ounce will tint one hundred pounds of white 
to a blue tone. If you add too little you can always 
add more, but should too much color be put into the 
white a considerable amount of white must then be 
added to get back to the starting point. In such an 
€vent it is often quicker to discard the too dark batch 
and start a new one from the white rather than to 
make an attempt to doctor the spoiled lot. 

It is the easiest thing in the world to use an over- 
dose of japan, and an overdose of japan is a mighty 



AUTOMOBILE PAINTING 35 

active enemy of a good paint structure. 

In the rush and hurry of getting work out of the 
paint shop there is a strong and prevailing temptation 
to dope up the contents of the paint container with 
japan drier. 

No paint when thinned with oil or turpentine, or 
both, should be made to carry more than 3 per cent 
of its volume of drying japan. When the quantity of 
drier exceeds this amount an element of uncertainty 
is added to the paint. Coach japan, it should be re- 
membered, is compounded from a gum base and the 
base is a very hard drying one. 

This fact alone may well cause the painter to hesi- 
tate as he adds japan to his paint mixture. An excess 
of japan in a body of paint is a medium of great 
strength in undermining the durability of the job. 

One way to strain varnish thoroughly is to stretch 
two thicknesses of cheese cloth over a large funnel, 
let it sag half way down the depth of the funnel. Place 
a wad of clean cotton about the size of your fist in the 
funnel before fastening the cloth over the top with a 
string. The cloth and cotton effectively remove all 
grit. The small end of the funnel should, of course, 
be placed in the opening of a perfectly clean can before 
the varnish is run into the cloth covered end. 




SCHEDULE OF OPERATIONS. 

A First Class Job On a New Car— Eleven Coats— Twenty 

Days. 

SECTION 6 
THE BODY. 

Operation 

Clean the Surface 1 

Sandpaper, No. 1^, to Roughen Up 2 1 1st and 

Dust Off 6 I 2nd Days 

Priming Coat 3 

Putty 4 

Sandpaper, No. 5 

Dust Off 6 

1st Coat Roughstuff Filler 7 

2nd Coat Roughstuff Filler 7 

Stain Guide Coat 81 

Rub with Artificial Brick and Water 9 [ 6th Day 

Wash 6j 

Dust Off 6)7th 

1st Coat Lead Ground 10 j Day 

Rub with Horse Hair 11] 

Dust Off 6 [ 8th Day 

2nd Coat Lead Ground 10 J 

Knifing Lead and Glaze Putty • 12 9th Day 

Rub with Powdered Pumice and Water 91 

Wash 6 [ 10th Day 

1 Coat Japan Color with Turpentine 13 J 

Rub with Horse Hair Ill 

Dust Off 6 nith Day 

1 Coat Japan Color, with Varnish 14 J 

Rub with Horse Hair Ill 12th 

Dust Off 6 [and 

1 Coat Rubbing Varnish, with Color 15 J 13th Days 

Rub with Powdered Pumice and Water 91 14th 

Wash 6 [ and 

1 Coat Rubbing Varnish, Clear 16 J 15th Days 

Rub with Powdered Pumice and Water 91 

Wash 6 [ 16th Day 

Initials or Monograms Chapter IX J 

1 Coat Body Varnish 17 17th Day 

Wash 6 I 20th 

Polish, ready for service 18 j Day 



CHAPTER V. 

Finishing the New Car. 

This chapter will deal with the finishing of the 
automobile from the bare metal up, not wholly accord- 
ing to methods used in the factory, where cars are 
built with quantity as a vital factor, but after the well 
tried and proven processes used by skilled painters in 
the job shops. 

OPERATION No. 1. 

Cleaning the Surface. 

As automobile parts come from the mechanical 
processes of construction they are usually coated with 
grease and some of the forgings may still be covered 
to some extent with mill scales. It sometimes hap- 
pens also that rust has accumulated on some parts. 
Put it down as being extremely important to remove 
every atom of rust, all of the grease and all scales. No 
priming coat can attach itself to a surface when these 
elements remain on the surface between the paint and 
the solid metal. The best kind of finishing in the 
world cannot prevent paint coats from scaling sooner 
or later with rust between them and the metal. Steel 
wool, wire brushes and emery paper are the materials 
needed to polish the metal surface bright, freeing it 
from rust and scales. Benzine washes will remove 
the grease. 

Any dents, holes and cracks in the surface which 
can be filled with solder and filed down level and 
smooth ought to be handled that way in preference to 
filling with putty. No putty ever held as well as 
solder. The more perfect and smooth the metal sur- 
face is made the more easily it can be finished. It will 
require fewer coats when well finished in the metal 



38 AUTOMOBILE PAINTING 

than if turned over to the painter with many surface 
blemishes. 

OPERATION No. 2. 

Roughen up the Surface With Sandpaper. 

When a metal body has been cleaned as thoroughly 
as it should be to free it from rust and other surface 
accumulations it will possess quite a polished surface 
which is too smooth to permit the priming coat to 
gain much anchorage or hold on it. As the painters 
say, it has no tooth. In order to overcome this feature 
it is well to rub it down a little with fairly coarse 
sandpaper, glasspaper or emery paper, not finer than 
No. \y2y which will cut and roughen up the polished 
metal enough to let the paint attach itself in the 
scratches. Carefully wipe the surface free from grit 
and dust off, or wash as per Operation 6. 

On repainting jobs the old varnish is often so hard 
as to offer no more anchorage to new coats than a 
new metal surface, especially bodies, hoods and fenders 
having a baked-on finish. The gloss must be removed 
and the surface cut up enough to let the new coats 
get hold. When the old varnish is cracked it must 
be rubbed with sandpaper, emery paper or steel wool 
until it has been pretty well cut away down to the color 
coats and until the cracks are pretty well rubbed out 
and the surface smoothed up. You may depend upon 
roughstuff and lead ground coats to fill and level up 
such cracks to some extent, but not on japan color or 
varnish color coats. 

For the repainting job, upon which the old varnish 
shows no cracks but has simply lost its gloss. No. 1^^ 
sandpaper is too coarse. It will scratch the surface 
too much to be filled and covered up by japan color 
and varnish color coats which are all that are neces- 
sary to refinish such a surface. The roughstuff coats 
can be dispensed with. The rubbing down of the old 
varnish should be done with powdered pumice and 
water, fine artificial rubbing brick, No. sandpaper 



AUTOMOBILE PAINTING sy 

or fine steel wool, according to which cuts best on 
each particular surface. 

A touch up and varnish job, as explained later, 
ought not to be rubbed down with anything but 
pumice and water unless it is very fine steel wool, 
used carefully. 

OPERATION No. 3. 
Priming Coat — Allow 12 Hours to Dry. 

The first requirement in this operation is to wipe 
c-f? the surface with a cloth wet with turpentine to 
remove any grease from finger prints and all dust. 
The surface is then ready to brush on the paint. 

Make sure your brush is clean. Even if new it 
probably is full of dust and grit. Shake it out well, 
then wash in benzine or turpentine. An old brush 
often looks dean but is not. Paint skins and grit 
accumulate up at the heel around the end of the 
bristles and refuse to be dislodged except by diligent 
washing first with turpentine and later with soap and 
warm (not hot) water. Then the brush should be laid 
aown flat to dry before using. A new brush should 
not be soaked in water the first thing; that is, the 
bristles ought not to be or they will get soft and 
flabby. Turn the brush bristles pointing up, separate 
the center bristles with the fingers and pour a little 
water down the center only to hit the wood plug. It 
is this plug which needs water so it will swell and 
wedge the bristles in tight. A rubber set brush has 
no wood plug and doesn't need the water treatment. 
One of the quickest ways to prevent yourself from 
producing a really fine finish is to use an unclean 
brush. Don't try it. For the kind of brushes needed 
see Chapter III on Tools. 

Priming a metal body really consists of two separ- 
ate operations. Authorities differ as to the composi- 
tion of > the very first coat next to the cleaned metal. 
Some painters have good reason to prefer a coat of 
straight raw linseed oil brushed on, allowed tc set 



40 AUTOMOBILE PAINTING 

half an hour or so and then wiped off with a soft cloth, 
not too clean but just enough to leave a thin film of 
oil on the surface which ought to dry at least twelve 
hours. 

Others prefer to add about one pound of white 
lead ground in oil to about a pint of the oil and at the 
same time put in a few drops of japan drier. Other- 
wise handle same as above. 

The English automobile painter prefers, for the 
first primer, two parts raw linseed oil, one part japan 
gold size and one part turpentine. It is brushed on, 
allowed to set half an hour or so and then wiped off 
only fairly clean with a soft cotton cloth, leaving a 
thin film of the oil on the surface. At least twelve 
hours should be allowed it to dry before covering with 
another coat. 

Another first primer of merit to be handled the 
same way is: Two or three parts raw linseed oil, 
six parts turpentine, enough red lead to stain the liquid. 

There are on the market some patent metal primers 
which have merit, but it is doubtful if they are any 
better than, or as good as, the above formulae. Surely 
they are not as convenient to get. The second and 
third formulae are most convenient and probably as 
good as anything known. 

When the drying period for this thin wiped-of¥ 
primer is up make the surface free from dust and it is 
ready for the priming coat proper, — of lead. Use a 
very fine white lead, preferably Carter "Flake White" 
or "Coach & Car" brand. The regular grind of white 
lead in oil is suitable also, although these two special 
grinds possess some little advantage. Pure Red Lead 
mixed to a paste with linseed oil holds a valid claim 
to first place as a primer for metal. When used a little 
lamp black may be added to it to tone down the bright 
color, unless the job is to be finished in red; otherwise 
the red lead, after thorough mixing, may be handled 
in exactly the same manner as white lead. 

The lead should be thinned with enough pure raw 
linseed oil to bind it, but not enough to cause a per- 



AUTOMOBILE PAINTING 41 

ceptible gloss, — about %. oil, % japan gold size or 
coach japan to ^ turpentine. The total amount of the 
oil and turpentine liquid used with the lead paste 
should be sufficient to make the paint just too thin to 
cover or hide the surface very well. 

The mixing of the lead, oil and turpentine should 
be thoroughly done to make it possible later to brush 
on this coat evenly and without brush marks. See 
Section 5 concerning the proper method of mixing. 
It is well to add just a touch of ivory black or lamp 
black to the white lead also, just enough to make a 
light gray. 

Having this lead priming coat properly mixed and 
the surface free from dust begin to apply the paint 
with an Oval Varnish Brush. By laying this first 
coat on evenly, not too thick, without showing promi- 
nently any laps, joints and coarse brush marks con- 
siderable rubbing later can be avoided and a superior, 
smooth surface gained in but few coats. Hold the 
brush naturally and do not bear down hard upon it 
after the first two or three strokes required to transfer 
the paint to the surface. When the paint has been 
put on the surface spread it with light, even strokes; 
finishing up each section of the surface, when com- 
pletely and evenly coated in, with a few strokes with 
the tip of the bristles. This will take out the brush 
marks, leaving the paint to dry smoothly. The sides 
of a panel or large, fiat surface should be coated in 
before the center. Spread the paint roughly around 
all four sides, then cover the center and finally go over 
the whole stretch with the tip of the bristles to smooth 
up. Do not try to coat too large a surface area at one 
time. What you can coat with one dipping of the 
brush is enough, surely not a larger area than about 
two by two feet. Finish each little area up completely 
before going to the next. If you go back a few sec- 
onds later to do more smoothing upon a panel you 
thought finished, you will find that the paint has set 
and that your brush drags and roughs up the coat 
greatly. So you must keep ofif, once an area has been 



42 AUTOMOBILE PAINTING 

left as finished. Color and varnish coats act in the 
same manner, so it is well to learn at the start to 
finish each small area while you are on it. 

At least twelve hours must be allowed this coat 
for drying and more time is a great help. 

OPERATION No. 4. 
Putty — Allow 12 Hours to Dry. 

With the priming coat dry enough to work over 
after twelve hours, the small fissures and crevices may 
be filled with putty to level up with the balance of 
the surface. Mix the putty this way : 

3 parts of dry white lead, 1 part fine bolted whiting. 
Thin to a stiff putty consistency with half coach japan 
and half rubbing varnish. Knead until thoroughly 
mixed. Also add a little of the japan or dry color 
to be used. 

Another putty formula for the same purpose is : 

White lead in oil. Add enough dry finely bolted 
whiting to make a very stiff putty. Add a little rub- 
bing varnish, a little of the japan color and a few 
drops of ordinary japan drier, as much coach japan as 
varnish is better if handy. Knead and mix thoroughly 
before using. 

When filling very deep holes use the last mentioned 
formula after adding to it a little of the hair or fibre 
cut from the surface of an old piece of furniture plush, 
it will help hold the putty in place if thoroughly mixed 
with it. Fill deep holes only half full, let the putty 
dry, shrink and get hard and then fill again to the 
surface level. 

Putty is put in place with the regular putty knife 
with which all are familiar. After being forced well 
into the crevice the top should be carefully smoothed 
off, leaving it level with surrounding surface. 

When the putty becomes to'o soft and sticky, add 
a little more dry whiting or lead. 

When it comes to making putty to fill cracks and 
scratches in a baked on enamel auto surface a hard 
drying putty is needed. It is seldom such a surface 



i?iaTOMOBILE PAINTING 43 

shows any cracks, but scratches from accidents are 
quite common. The fenders especially are scraped 
and scratched. To fill these on repainting jobs mix 
the putty from white lead in oil, dry white lead, dry 
colors to make it match the old surface, a little gold 
size or coach japan, a few drops of linseed oil, quick 
rubbing varnish and whiting. Use a flexible putty 
knife to put the putty in place, or better yet a spatula^ 

OPERATION 5. 
Sandpapering. 

When the lead priming coat has had its full time 
to dry hard it should be lightly sandpapered with No. 
paper. Rub just hard enough to cut off the dirt nibs 
and dust which have settled in the new paint and to- 
smooth off any roughness from brush marks, laps and 
joints. 

Under no circumstances should the priming or any 
coat be rubbed hard enough to cut through to the bare 
metal, thus giving rust a chance to start over night 
and give trouble later. Do not try to rub out the fine 
brush marks, the body of paint is not thick enough 
for that much rubbing. Take especial care to keep 
the sandpaper off sharp corners and edges of the sur- 
face, because it is surprisingly easy to cut through the 
paint to the metal on corners, edges, projections and 
mouldings. 

Try to rub the surface evenly everywhere; that 
is, rub each area about the same length of time and 
with the same light pressure on the paper. Wrap the 
paper around a small block of wood having no sharp 
corners when sanding fairly large areas. This will 
help to distribute the rubbing and to avoid cutting 
through in small places by exerting more pressure 
under the fingers on the paper than between them. 

To avoid breathing the dust from sandpapering 
which is injurious, dip the sandpaper in turpentine 
once in a while. It will then cut faster also. 

Should the coat be cut through to the metal in spite 
of your care, the bare spots ought to be coated over 



44 AUTOMOBILE PAINTING 

again with the same paint mixture immediately after 
the sandpapering has been finished, the surface dusted 
or washed, wiped and dried off. 

OPERATION 6. 
Washing and Dusting Off. 

Such an apparently simple operation as washing 
the dust and grit off of a painted surface would seem 
to require no explanation, yet there is more than one 
way to wash. No operation in the whole process is 
more important than thorough washing. If the par- 
ticles of sand from the sandpaper, the pumice stone 
particles from the water-rub and the paint particles 
cut off the surface "are not completely removed before 
the next coat is brushed on they will gum up and 
rough up the coat in a way that will surely mar the 
finish. It is particularly necessary to remove dirt par- 
ticles from cracks and crevices. The paint brush will 
drag them out if not washed out. 

Two ten or twelve quart pails of clear water, with- 
out soap, are needed together with a good sponge and 
a couple of clean paint brushes. One brush should be 
small, a one inch size perhaps, and the other a three 
or four inch width. 

Sponge on the water from one pail to float and wipe 
off as much of the surface accumulation as possible. 
With the small brush dislodge any loose material from 
the corners, mouldings, holes and such places and then 
Avith the large brush, keeping the surface wet all the 
time, wipe as clean as possible. 

Finally use the clean water in the other pail with 
another clean sponge or a clean soft cloth to rinse off 
the surface. With a dry, soft cloth or a chamois skin 
wipe the surface dry. After rubbing and washing 
roughstuff coats, which are more porous and absorbent 
than varnish and lead coats, the surface ought to dry 
at least over night, 12 hours, before any more paint is 
applied. Moisture sealed up in these coats by paint- 
ing over them too soon will give trouble on the finished 
job. 



AUTOMOBILE PAINTING 45 

Use no soap when washing a surface to be painted 
or varnished. It may cause the new material to run, 
sag and wrinkle. Any grease accidentally put onto 
the surface must be wiped off clean with benzine or 
turpentine. 

A sponge used in washing up an old car or any 
greasy surface must never be used for washing up 
lead, roughstuff, color or varnish coats. It cannot be 
washed clean enough to avoid rubbing some grease on 
these new coats. It is best to have a separate, clean 
sponge for washing newly coated surfaces. 

Just before brushing on any coat of material dust 
off the surface with the palm of the hand to remove 
any lint which may have accumulated from the wiping 
cloths. A three or four inch absolutely clean and dry 
brush or duster is better and more rapid than the hand 
for this latter purpose. Place a few drops of linseed 
oil in the hand, rub the palms together and then pass 
the brush bristle tips over the oil. This will cause 
them to pick up the dust quickly when the brush is 
lightly passed over the surface. Allow no oil to get 
on the surface. A hand bellows is also an excellent 
tool to blow the dust and lint from a surface just before 
painting or varnishing. 

Remember that even the smallest piece of dirt or 
fibre will show up ten times as large when the paint or 
varnish dries over it. This is another instance where 
a mole hill looks like a mountain. 

OPERATION 7. 

Roughstuff Filler — Allow 12 Hours to Dry. 

To the uninitiated this name holds but little mean- 
ing. It is, however, simply trade vernacular meaning 
a mixture of pigments and thinners used to fill up and 
level surface inequalities. No other portion of the 
process is more important, because if a full, solid and 
substantial surface is not gained by the roughstuff, 
lead coats and rubbing before the color coats and var- 
nish coats go on there isn't much opportunity to build 
it at all. The rubbing varnish coats help a little in the 



46 AUTOMOBILE PAINTING 

leveling of the surface but not greatly. All other 
finishing coats are a secondary consideration to the 
complete filling and leveling of the surface by means 
of putty and roughstuif coats. 

For ordinary good results on average work but a 
couple of coats of roughstuff are used. Finer work 
calls for many, sometimes a dozen or more, because 
these are the coats which build the fine surface. On 
the other hand, it must be remembered that the metal 
body of today is quite a smoothly finished surface be- 
fore it ever comes to the painter. So, fewer coats of 
roughstuif are needed on a smooth surface than for a 
rough one. Use no more coats than are necessary to 
build up a well covered, dense and level surface. The 
elimination of but one coat makes a considerable sav- 
ing of labor cost. 

Several thin coats brushed on alternately; — first 
lengthwise of the body then crosswise, produce a very 
dense, compact and fine surface. Laying the coats at 
right angles to each other in this way gives an even 
distribution and uniform thickness of material. Sev- 
eral thin coats of roughstufif or color, are usually better 
than one or two thick ones, because they dry harder, 
brush out more smoothly and distribute the material 
better over the surface. When only one or two coats 
of roughstufif are to go on a surface, mix them a little 
thicker than the brushing consistency of ordinary 
paint. 

There are many formulae for mixing roughstufif 
filler coats. They are quite alike, however, but with 
varying proportions of materials as a chief difference. 

From Chapter II on Materials it will be found that 
roughstuif can be purchased ready to thin down with 
turpentine and brush on. Often it is best to buy 
roughstuff, mixed ready for use and save time; surely 
this is the course to follow where only one or two cars 
are being handled at a time. Those who prefer to 
mix their own roughstuff can do so from white lead, 
and an inert material called "Keystone Filler" as the 
pigments and rubbing varnish, coach japan and turpen- 



AUTOMOBILE PAINTING 47 

tine as the liquids. If the pigment portion were to be 
nearly all Keystone Filler the coat would dry fast and 
rub down easily but a rather coarse and very porous, 
absorbent foundation would result. This would ex- 
tract the binding liquid from the color coats, causing 
them to sink in, to give a spotty appearance. Plenty 
of white lead in the roughstuff causes it to dry more 
slowly but gives a much more elastic foundation which 
never will crack. It is a more durable surface, a finer 
and more compact one which will hold the color coats 
out in place and support them. 

When brushing on roughstuff coats lay the material 
off as evenly and carefully as the finest color or varnish 
coats. Work the material well into all crevices or 
depressions if the puttying has not yet been done, — 
the putty is put in after the roughstuff coats rather 
than over the lead priming coat by some, it is largely 
a matter of personal choice. Care exercised in brush- 
ing on roughstuff saves labor when rubbing down 
later and makes generally a better surface. Do not 
depend too much on rubbing to make a smooth sur- 
face. Make it by careful brushing. 

The brush to be used may be either the oval varnish 
brush or one of the other bristle brushes discussed in 
Chapter III on tools. Handle the brush and brushing 
in exactly the same manner as was prescribed for 
laying on the lead priming coat. 

In the schedule for this job it was assumed that 
each roughstuff coat would be put on early in the day, 
and being allowed to stand until next morning, would 
have about twenty-four hours to dry. Twice that time 
would make a more durable job. Under a great short- 
age of time, however, two thin coats of roughstuff are 
often applied each day, about eight hours apart. 

Some good roughstuff formulae are given below : 
3 lbs. Keystone Filler, ground in Japan. 
1 lb. white lead ground in oil. 

Mix to a thick paste with one-half rubbing varnish 
and one-half coach japan. When thoroughly mixed, 
thin to brushing consistency with turpencine. 



48 AUTOMOBILE PAINTING 

The above formula is often varied by using one- 
half Keystone Filler (2 lbs.) and one-half lead, (2 lbs). 
Otherwise the formula is the same. This makes a 
more elastic and serviceable foundation, but does not 
dry quite so quickly. 

When several coats of roughstuff are employed to, 
produce an extra fine and durable surface, it is usual 
with many painters to change the proportions of Key- 
stone Filler and Lead as the work progresses in this 
manner: 

1st Coat. 

1 lb. Keystone Filler in Japan. 

2 lb. White Lead in Oil. 

2nd Coat. 
1% lb. Keystone Filler in Japan. 
1^4 lb. White Lead in Oil. 

3rd Coat. 
Iy2 lb. Keystone Filler in Japan. 
iy2 lb. White Lead in Oil. 
The proportions of the liquid would not vary, about 
half rubbing varnish and half coach japan to mix the 
pigments to a thick paste. Then thin with turpentine 
to brushing consistency. 

Whenever the Keystone Filler is used dry to make 
roughstufT for first class work it may be mixed in these 
proportions : 

1st Coat. 
2 lb. Keystone Filler, dry. 
4 lb. White Lead ground in oil. 
Mix thoroughly to heavy paste, (thick enough so the 
paddle does not sink into it of its own weight) with 
half rubbing varnish and half coach japan. Then 
thin to brushing consistency with turpentine. 

2nd Coat. 

2 lbs. Keystone Filler, Dry. 

3 lbs. White Lead in Oil. 

3rd Coat. 
2 lbs. Keystone Filler. 
2 lbs. White Lead in Oil. 
Roughstuff filler coats to be used on repainting 



AUTOMOBILE PAINTING 49 

jobs when the old paint is not removed but is simply 
rubbed down level and smooth ought to be mixed 
this way: 

y2 White Lead. 
Yi Keystone Filler. 
Mix to a stiff paste with equal parts of Coach Japan 

and rubbing- varnish. Thin the paste to brusning 

consistency with turpentine. 
Whenever it is possible to heat the drying room to 
85** or 95*' two coats of roughstuff per day may be 
applied, one in the morning early and one late in the 
afternoon. Likewise two coats of color may be ap- 
plied per day in the same way. A hot room will save 
a day or two on any job, but otherwise it possesses 
no great advantage over a steady even temperature 
of 70° or 75 ^ 

Roughstuff coats rubbed with water and pumice 
and washed must be given at least twelve hours to 
dry. They are more porous than lead and varnish 
coats and soak up much water. When painted over 
too soon the moisture sealed up will give trouble on 
the finished job. 

OPERATION 8. 
Stain Guide Coat — ^Allow 2 Hours to Dry. 

While rubbing with pumice stone and water, or 
sandpaper either for that matter, on a surface which 
is the same color on top as the undercoats below, it is 
a little difficult to know just when the whole surface 
area has been rubbed uniformly. 

The stain guide coat does not serve any purpose 
except as a guide when rubbing down the roughstuff 
coats to a level surface. It is a quick drying, thin 
stain made darker than the roughstuff coats and 
brushed on. As portions of the surface are rubbed 
the stain guide coat comes off leaving the lighter col- 
ored roughstuff coats to show. The advantage of this 
stain is that low places in the surface show up quickly, 
because the flat piece of pumice stone or artificial brick 
used for rubbing does not touch them, but rather cuts 



50 AUTOMOBILE PAINTING 

the stain off the high places. As you rub longer on 
areas showing high bare spots and low stained places, 
the high spots are gradually cut down and the stain on 
the low places are reached. When all stain has been 
cut away the surface is level, provided the whole area 
about these low places was rubbed uniformly and 
evenly with a good sized piece of stone or felt pad 
rather than to take a small piece and dig the stain out 
of the low places. 

The forrnula for mixing the stain guide coat: 
A little Lamp Black-in-oil, or a little Burnt Umber- 
in-oil, a few drops of linseed oil, turpentine, enough 
to make a thin stain of brushing consistency. 

When you think you have rubbed the whole sur- 
face evenly look over the work and the places which 
have been skipped will readily show, because the stain 
has not yet been rubbed off of them. To the old hand 
at rubbing a stain is unnecessary, but it is a great help 
to all whose experience is limited. It can be rubbed 
an hour after being applied. 

OPERATION 9. 

Rubbing, — Pumice and Water. 

All vehicle surfaces possess some uneveness and 
little inequalities, no matter how well the metal or 
wood is finished. The lead and especially the rough- 
stuff coats fill and build up the low places on the sur- 
face, but remember also that, since these coats are 
brushed on with about the same thickness all over the 
whole surface, higher places are built up as fast as 
the low spots. So, the surface is about as uneven as 
it was before putting on these coats. The high places, 
however, have a great enough thickness of paint on 
them, after the roughstuff coats, to stand cutting down 
to the level of the low places. That is precisely what 
is to be accomplished by rubbing with pumice or arti- 
ficial rubbing stone and water. The flat stone used 
being three or four inches square for the body is large 
enough to span the distance from one high point of 
the surface to another, bridging over the low places 



AUTOMOBILE PAINTING 51 

without cutting them until the high places are cut 
away to the level of the low. The rubbing should 
cease when there are no more high places to cut down 
to the level of the low ones. 

Keep in mind that the rubbing should be done over 
the whole surface area, and not simply on the rough 
places and where low places are in evidence. 

When the putty has been put in place carefully and 
then smoothed over before drying, likewise when the 
roughstuff coats are as carefully brushed on as color 
coats to avoid laps, brush marks and fat edges, the 
rubbing of the roughstufT to level up, pack and make 
a fine surface is a simple task. But when the founda- 
tion coats have been put on in a slap dash manner, 
more rubbing and more careful work are required to 
make the right kind of a foundation to hold up the 
color and varnish coats. 

The success and beauty of the finished surface are 
made or unmade right here on this point of rubbing 
down of the roughstufif filler coats. If it is not done 
with care a compact, even surface will not result. 
Hollow and uneven places will be in evidence when 
the varnish goes on. 

Rubbing Tools. Tools needed for rubbing are spe- 
cified in Chapter III. In addition to those described 
there, a ten or twelve quart pail is needed for wash 
water to keep the surface wet while rubbing. A 
sponge is handy also for putting the water on the 
surface. 

It is largely a matter of personal preference whether 
you rub with powdered pumice stone on a felt rubbing 
pad, lump pumice stone or artificial rubbing brick 
dressed down with a file as later described. The 
author prefers the latter material for roughstuflf, but 
the former for lead and varnish rubbing. Artificial 
bricks are very extensively used among expert auto 
painters. For the inexperienced, the felt pad and 
powdered pumice are probably best ; they are less likely 
to damage the surface. 

There are skilled workmen who use in place of the 



52 AUTOMOBILE PAINTING 

stone and water a fine grade of steel wool dipped in 
turpentine or a light mineral oil such as the turpentine 
substitutes. No doubt just as fine results can be 
gained by rubbing with steel wool as with the stone 
and water when an equal amount of care is exercised 
and as much skill. The stain guide coat previously 
described, is put on before a steel wool rub, same as 
for the rub with other materials. 

The artificial rubbing brick cuts faster and clogs up 
less frequently than lump pumice stone, and it has the 
important advantage of being a more even and uniform 
composition. The cutting material of which the arti- 
ficial stone is made is graded and sifted to uniform size 
before being pressed into solid bricks, whereas the 
natural lump pumice stone often contains little pieces 
of very hard rock which scratch the surface. 

For rubbing roughstuff the first time over, the 
medium fine grade of artificial rubbing brick is used 
and care must be taken to avoid cutting away too much 
material from off the surface. After a once over, light 
rub with the medium fine stone the balance of the work 
is done with the fine grade of the artificial stone, or 
with powdered pumice stone on a felt pad. 

RUBBING MOULDINGS. 
Section 7. 

No rubbing whatever should be done until the 
surface is thoroughly dry. It will skin and gum up 
the stone when not dry enough. 

The very first thing to do is to thoroughly soak 
the parts to be rubbed with clean water and keep them 
wet all during the rubbing. Use plenty of water. 
Rubbing a dry surface will scratch it. 

All mouldings are to be rubbed first, so that if by 
accident the rubbing stone does slip and cut into the 
flat panel surface around the moulding, the damage 
will not be as great as if the flat panel area had already 
been rubbed all it could stand and had a fine finished 
surface. If the flat surface is scratched before it has 
been rubbed there is some opportunity to remove the 



AUTOMOBILE PAINTING S3 

scratches by rubbing later. 

Find a piece of lump pumice stone about as wide 
as the moulding to be rubbed, or cut off a piece of the 
artificial rubbing brick that size. Make one side flat 
by rubbing it on a piece of sandpaper spread flat on a 
board, a flat piece of sandstone or the flat side of a 
file. Then with the convex side of the half-round file 
hollow out the flat side of the stone just planed down 
until it fits the moulding to be rubbed. 

Soak the rubbing stone awhile and wet the mould- 
ing thoroughly with the sponge soaked in water. Be- 
gin rubbing lightly and evenly with the stone, taking 
care not to let the lower edge scrape the flat panel 
surface alongside and cut through the roughstuff to 
the bare metal. Rub evenly and not too hard, but just 
enough to smooth and level up the surface. When 
this much has been accomplished, stop. Great care 
must be exercised while rubbing to avoid cutting 
through the roughstuff to the bare metal anywhere^ 
and especially on corners, edges and such sharp places 
where the damage is done before one realizes that he 
has been rubbing too hard or too long in one place. 

Any places made bare by rubbing through the 
roughstuff and lead coats must be touched up the same 
day with a little shellac and some of the lead primer 
followed by roughstuff coats until the spot is again 
level, when it may be rubbed carefully to cut it down 
with the surrounding surface. If bare spots are not 
covered over. with paint immediately rust will begin 
to corrode the metal. Then paint put on over the 
rust will probably scale off sooner or later. 

RUBBING LARGE FLAT AREAS. 
Section 8. 

For such surfaces only perfectly flat stones of fair 
size, not smaller than about three by three inches, are 
suitable. Larger pieces yet are sometimes better for 
very large surfaces. The stone should never be so 
large as to make it awkward to handle. 

Square up a piece of stone on one side and one end, 



AUTOMOBILE PAINTING 55 

smooth off one flat side on a piece of No. 1 sandpaper 
placed flat on a board, a flat file will help take off the 
first roughness. One or more square corners are 
needed on the stone so it will reach the flat surface to 
be rubbed up next to mouldings at the corners. As 
long as you keep the edges of the stone fairly sharp 
(not a knife edge, but a square one) and the surface 
washed free from rubbed off material you will be able 
to rub the corner surfaces to a fine finish quickly. 

Soak the whole stone in water a while, wet the 
surface and begin to rub the roughstuff in each corner 
of the flat panel before attempting to rub the center 
and larger part of the panel surface. 

With all of the corner areas rubbed to a nice finish 
give your attention to rubbing the center surface with 
long strokes, exerting even pressure on the stone at all 
times and distribute the strokes evenly, over the whole 
surface. 

Add more water to the surface and wash the stone 
as often as is necessary to keep both clean and thor- 
oughly wet. 

When the stain guide coat on low places is not 
touched by the rubbing of the whole surface uniformly, 
do not tip the stone up on edge and scratch out these 
dark places, but keep on rubbing the high places 
around such spots until they are cut away by the stone 
held flat down on the surface. The only way to pro- 
duce a perfectly level surface free from hollows and 
digs is to keep the stone flat down all the time. When 
low spots are dug out, the varnish coats emphasize the 
defects many times, and that mars a perfect finish. 

When some places are so very low as to require 
excessive cutting down of the surrounding surface to 
level up, they had better be filled again, before the 
rubbing continues, with putty. Take a little of the 
same putty used for stopping up holes on the priming 
coat. Thin it down with turpentine, only enough to 
enable you to brush it on to the low spots smoothly. 
When thoroughly dry continue the rubbing as before. 
Usually, the roughstuff coats are thick enough all 



So AUTOMOBILE PAINTING 

together to stand enough rubbing to level up all shal- 
low low places, by rubbing, without the above putty 
filling. That is the purpose of roughstuff coats, and 
if enough of them are put on to form a fairly thick 
foundation, they will stand as much rubbing as is 
necessary to remove ordinary low places. 

In rubbing any flat surface move the hand in a 
very slightly semi-circular manner (not completely 
around a circle). Never rub more than a stroke or 
two parallel to a moulding or edge for any distance, 
but rather rub the surface next to the moulding with 
the circular motion at the same time the center of the 
panel is being rubbed, approaching the moulding al- 
ways with a curved angle stroke. See Figure 9. 

If you rub with a real small piece of stone any- 
where on a flat surface, especially next to a moulding 
or f dge, a hollow streak will show up which will be 
difficult to rub out later, if indeed it is possible. It 
vn^y not be noticed until the varnish shows it up, then 
?> is too late to fill it. 

Remember, that rubbing too hard or too long in one 
place is calculated to rub through to the bare metal 
and y?u will then have to do some patching. Patch- 
ing, no matter how cleverly done, is never quite as 
good as the original coats. 

A surface being rubbed should be washed off clean 
often enough to keep the stone from clogging up with 
the material it has cut loose from the surface and the 
small particles which have come off of the stone itself. 
Otherwise the surface may be plowed up and scratched 
when the stone ceases to cut properly. A little pow- 
dered pumice sprinkled on the rubbing stone occasion- 
ally while rubbing helps to keep it clean and in cut- 
ting condition. 

What has been said about a choked up stone plow- 
ing through a good surface and spoiling it applies just 
as forcefully to the use of poorly and roughly faced 
rubbing stones, or stones not faced at all with the file. 

Keep the half round file and a piece of No. 1 sand- 
paper along side always when rubbing. Then see 



AUTOMOBILE PAINTING 57 

that your stones are planed off flat and properly 
squared off on the edges and corners when in use. As 
soon as they get out of shape dress them up again on 
the spot, as has been said before, finishing coats, espe- 
cially varnish, emphasize rather than hide scratches, 
hollows and streaks in the roughstuff and lead coats* 

, RUBBING CURVED SMALL SURFACES. 
Section 9. 

Fairly large curved body surfaces, engine hoods, 
etc., may be rubbed with the fine artificial rubbing 
stone same as for flat surfaces, except that the flat 
side must be filed and dressed down exactly to fit the 
curved surface to be rubbed, otherwise streaks or 
hollows may be rubbed in the work by the high places 
on the stone. 

The felt rubbing pad with powdered pumice stone 
and water really is to be preferred for all curved sur- 
faces, except perhaps mouldings to which it is easy to 
fit the stone. The felt rubbing pad is soft enough to 
accommodate itself to the curves of any surface. 

Small surfaces had best be rubbed with the felt 
pad. Axles and axle housings, tore rods, drag links, 
springs and such curved surfaces which are small in 
diameter or width are best rubbed with the felt pad. 
On fast work they are often rubbed sufficiently with 
an old four inch wall brush, the bristles of which have 
been cut off square about two inches from the wood 
handle. A fairly thin soup is made of powdered pum- 
ice stone and water, the brush is dipped in and the 
surface is rubbed just as though it were being painted, 
but with more and harder strokes. The surface must 
be wet, as for all rubbing processes. 

RUBBING LEAD GROUND COATS. 
Section 10. 
For the purpose of smoothing and cleaning lead 
ground coats up to receive the flat color coats No. 00 
sandpaper or very fine steel wool are used by some, 
while a light pumice stone and water rub is preferred 
for the finest class of work. This is the last oppor- 



58 AUTOMOBILE PAINTING 

lunity to rub the surface level and smooth, as the 
flat color coats to come next are not to be rubbed more 
than is necessary, with horse hair only, in fact, to 
remove dirt and lint. 

RUBBING VARNISH. 
Section 11. 

Varnished surfaces are on the whole rubbed after 
the same manner as others but not so hard or long. 
Powdered pumice stone, a fine grade, is used on a felt 
pad with water, in place of lump pumice or artificial 
rubbing bricks. 

Put onto your pad enough pumice to rub a small 
area and then do not put more on until that amount of 
surface has been rubbed to a finish, because after rub- 
bing a few strokes the pumice on your pad becomes 
much finer from friction and makes a fine surface which 
would be scratched by adding new pumice for the 
same small area. 

Lead, color and varnish coats should receive the 
minimum of rubbing, so as to leave as large a body of 
these materials as possible on the surface. Rub only 
enough to remove dirt nibs, fibres, lint, etc. The rub- 
l^ing of these coats can easily be over done. 

When varnish coats are properly applied, flowed 
on, very little rubbing is needed. The first coat of 
rubbing varnish can stand but a light rub, the second 
coat a little more, while a third coat can be rubbed 
pretty thoroughly, if necessary to smooth up the work. 
But, on the other hand, the rubbing varnish coat next 
tinder the finishing varnish ought not to be rubbed 
€xcessively with pumice, if it can be avoided, A light 
pumice and water rub followed by a rub or polish with 
rotten stone and water on a felt pad, or folded piece 
of old pants cloth, is the best treatment for this coat to 
promote a high gloss finish. The rub with rotten 
stone, or even dry whiting and water, cuts but little 
oi¥ from the surface ; it packs and polishes it. 

On touch up and varnish jobs, especially when only 
one new coat of varnish is to go on, the pumice and 



AUTOMOBILE PAINTING 59 

water rub should be only hard and long- enough to 
remove dirt, grease, wax from polishes and to cut the 
gloss of the old varnish. A light rub is enough and 
anything beyond that may bring to notice checks and 
hair line cracks which were not in evidence before. 

OPERATION 10. 
Lead Ground Coats. Allow 12 Hrs. to Dry. 

These lead coats may be but two in number or 
several, according to how fine a job is being aimed at. 
If the roughstuff coats were mixed with a large pro- 
portion of Keystone Filler they will produce a porous 
surface with a strong suction, which kind of a surface 
requires more lead ground coats and more oil in them 
than when the roughstufif coats contain about half lead 
and half Keystone Filler. 

Lead ground coats are a very necessary part of the 
surface as they fill up and*stop the suction of the por- 
ous roughstuff coats. When a large portion of lead 
is used in making the roughstuff, the coats dry more 
slowly but with a finer, less porous and more compact 
surface. So then the lead coats are not so much 
needed, surely not more than one or two. 

It is essential to stop the suction of the roughstuff 
coats to avoid having the later flat color coats strike 
into the surface in places and dry with an uneven, 
spotty effect. 

At this point in the finishing process you have 
another opportunity to putty up any holes, to patch 
scratches and other defects in the surface. 

Before spreading any of these lead coats clean off 
edges, and square out any corners where roughstuff 
may have slopped over. Cut down thick edges on door 
openings and such places where roughstuff accumu- 
lates excessively, so they will not chip off later after 
the finishing coats are on. 

Before brushing on this lead coat see that the 
surface is thoroughly washed after the rubbing, as 
per Operation No. 6. 



60 AUTOMOBILE PAINTING 

GROUND COLORS. 
Section 12. 

Most colors used for auto painting are semi-trans- 
parent rather than opaque like white lead, ochre and 
lamp black, especially are the lake color pigments 
transparent. 

With this in mind it is obvious that a coat or two 
of the clear flat color will be saved if you will mix 
these lead ground coats with a finely ground pure 
white lead, such as is used for house painting, or the 
special pure lead called Carter Coach & Car, as a base, 
adding a little house paint tinting color-in-oil to the 
lead to make it a lighter shade of the same color as the 
finishing coat is to be. 

If the finished color will be red, tint the white lead 
base to a medium dark pink by adding to it a little 
Tuscan Red, Indian Red or Venetian Red. 

If a green finish is wanted add to the white lead 
base a little Medium Chrome Green in oil to produce 
a shade of green a few degrees lighter than the finished 
effect wanted. 

For a blue finish Prussian Blue with a touch of 
Black is suitable with the lead base, or what is better 
is a salmon color made by adding chrome yellow, 
orange and a little raw sienna to the white lead base. 
A touch of red with medium chrome yellow will also 
do. 

The ground coats for very light finishing colors, 
such as cream, ivory or the light greens and blues 
may be tinted about the same as the finished color 
wanted, but lighter. Or add just enough Medium 
Chrome Yellow or Raw Sienna to the white lead to 
make an ivory ground for all light finishing colors. 
Pale yellows show up best over white ground. 

A very dark ground coat will cause the color coat 
to appear darker than it is in the can. Likewise, var- 
nish coats darken a color a shade or two, so when 
planning the finished color wanted mix the lead 
ground color light enough, and also the flat color a 
little lighter than is wanted, to allow for this dark- 



AUTOMOBILE PAINTING 61 

ening influence of ground coats and varnish coats. For 
ground coats for Lake Colors see Section 15. 

The liquids with which to thin the lead and color 
pigments are chiefly turpentine and some raw linseed 
oil. If the roughstuff coats contained but little white 
lead and are quite porous make the liquid used about 
one-fourth raw linseed oil and three-fourths turpen- 
tine. If, on the other hand, about half white lead and 
half Keystone Filler were used for roughstuff, less oil 
will be needed. These coats should dry with a flat 
surface, enough oil ought never to be put in to give a 
gloss. A few drops of japan drier or a little coach 
japan are needed to assist in drying and hardening the 
coat. 

If the first lead ground coat brushed easily, dried 
flat reasonably fast and hard, mix the second coat with 
the same proportions of lead, oil, turpentine and ja- 
pan. But if the first coat dried with a noticeable gloss 
use less oil and more turpentine for the second coat. 
If it did not dry hard or soon enough a little more of 
the coach japan will be needed in the second coat. 

When several lead coats are put on for an especially 
fine job, the amount of oil is decreased with each coat 
and the turpentine increased. Enough oil is always 
to be used to cause it to brush out smoothly without 
the stringy brush marks so noticeable when all tur- 
pentine and no oil are used as the thinner. 

The mixing of these coats should be thoroughly 
done as per Section 5. 

Brush the coats on quite thin, rub them into the 
roughstuff and then lay off with the tip of the brush 
so smoothly that brush marks, laps and joints will not 
show. Good brushes and care in using them will help 
greatly to accomplish this. See Chapter III about 
brushes and Operation 3 about brushing. These coats 
are to be brushed on as carefully as the finest color 
coats. 

Lead coats will dry hard enough in twelve hours 
each to be handled. It would be quite an advantage to 
allow more time. 



62 AUTOMOBILE PAINTING 

A lead ground coat to be put over old color and 
surface coats on repainting jobs, to fill up fine cracks, 
had best be mixed about like this so it will dry hard 
enough to sandpaper and surface well: 
2 lbs. White Lead in oil. 
1 lb. Keystone Filler in oil. 
Mix and thin to brushing consistency with % pure 
raw linseed oil and ^ turpentine. 

OPERATION 11. 
Horse Hair Rub. 

Often it is desirable to rub a surface just enough to 
remove dust, lint and any dirt nibs which have become 
lodged in the drying paint, or just enough to remove 
a surface gloss without cutting away any of the paint 
or varnish coat being rubbed. 

To accomplish this secure from a furniture repair- 
man, or from some old furniture, a few handfuls of 
the horse hair with which the cushions are stuffed. 
Automobile and buggy cushions are usually stuffed 
with this material also. 

With a handful of hair, rub the surface fairly hard 
while both the hair and surface are dry. 

This treatment is just what is needed to clean up 
the first lead ground coat before putting on the sec- 
ond. It is just the kind of a rub needed also after the 
first coat of flat color has become dry to prepare it 
to receive the second color coat. 

The horse hair rub is good over any coat of paint 
or varnish when the pumice stone and water rub is 
not to be given. It will cut the high polish off of fin- 
ishing varnish and leave a bright lustre preferred by 
many. 

Sandpaper No. 00, or fine steel wool are sometimes 
used in place of horse hair if the surface is a little 
rough. 

OPERATION 12. 

Knifing Lead and Glazing Ptitty. 

Allow at least 48 hours to dry. 

If the surface is in perfect shape now, as it should 



AUTOMOBILE PAINTING 63 

be, this operation may be eliminated from the body 
operations and a day can be saved. 

All of the puttying was supposed to have been done 
for the body on top of the priming coat, but there may 
be a few places which were overlooked at that time. 
They should be attended to now as per Operation 
No. 4. Also some of the places puttied previously 
may require a second filling now to level them up 
properly, because the first filling sometimes shrinks. 

This is the last chance to putty up defects. The 
next coat, the flat color, is not the proper place to 
putty over, although it is sometimes done after going 
to considerable trouble to mix putty exactly to match 
the color coat. Then there is a chance that the putty 
spots will finally finish up a little different shade than 
the balance of the surface. 

The putty to use should be the same as before, 
Operation 4, but colored something like the ground 
coats and not so thick. 

If the surface has, in spite of your best efforts, 
retained rough places up to this point they should 
now be filled with what is called knifing lead or glaz- 
ing putty. Make it by adding to the putty already 
used, as per Operation 4, coach japan or japan gold 
size and rubbing varnish, equal parts. Thin with tur- 
pentine, to produce a putty just heavy enough to be 
put on and scraped oft smooth with a broad, elastic 
putty knife, about three inches wide. Make the putty 
about as thick as flour paste or a little heavier. Spread 
it on to the rough places and all over the surface quite 
thick with the putty knife. It must be spread evenly 
to a uniform depth all over a rough surface. Let it 
dry a few minutes until it sets and takes hold of the 
surface. Then scrape off the putty where it is not 
wanted as smoothly and clean as possible with the 
knife, but allow it to remain in the rough places and 
hollows, after smoothing down nicely with the knife 
flat side. Let dry at least twelve hours and then rub 
out smooth, first with sandpaper No. 0. 

Or mix the glazing putty this way: 



64 AUTOMOBILE PAINTING 

3 parts dry white lead, or lead in oil. 
1 part dry finely bolted whiting. 

Mix to a stiff paste with equal parts of Coach 
Japan and rubbing varnish. Knead well and stain 
with dry colors to suit. Thin with turpentine a little, 
just enough to make it work smoothly under the knife. 

This putty glaze is used largely on wood bodies 
of carriages and limousines rather than the smooth 
metal body where it is not often needed. Rough metal 
forgings and castings such as hub plates, axles and 
axle housings can be filled level and brought to a 
smooth surface quickly by using this putty on them. 
Hard putty such as is used on the body will not stay 
in place on these parts of the chassis because of the 
constant vibration,. On curved surfaces it is easier 
to thin the putty a trifle more with turpentine and put 
it on with an old brush as thick as can be handled with 
that tool instead of the knife; scrape off with the 
knife. In fact, one without experience may find it 
easier to apply this putty with a brush to all sur- 
faces. 

As a means of building a surface quickly, to fill 
and level up so it can be rubbed smooth, glazing putty 
has much virtue. Several coats of the material can be 
knifed on and scraped off twelve hours apart. 

OPERATION 13. 
Japan Color Coat, with Turpentine. 
Allow 12 hours to dry. 
The first step to take to prepare for this coat is to 
inspect the surface very carefully to make sure it is 
thoroughly free from grit, horse hair or pieces of steel 
wool used for rubbing. Operation No. 6 should have 
left a perfectly clean surface. A wiping over with the 
bare palm of the hand will remove lint. See that the 
surface is thoroughly dry before applying this coat. 
Allow a day or two extra if necessary, as a dry sur- 
face after the soaking with water during the rubbing 
operation is sometimes hard to get. A damp surface 
may cause the color and varnish coats to go flat in 



AUTOMOBILE PAINTING 65 

places and spotty. 

It must be assumed that you have selected your 
color scheme, after reading Chapter XIV. The brushes 
needed are specified in Chapter III, and it pays to buy 
a good one. Poor brushes spoil more jobs than poor 
painters do. Chapter II lists and describes the japan^ 
colors to be used. 

The paste color may be used the same shade as it 
comes in the can, after thinning and proper mixing 
as per Operation No. 5, or it may be made lighter by 
adding a little Flake White, White Lead or zinc oxide 
to it. The lead and zinc you can get are ground in 
oil, so they must be mixed with turpentine or benzine, 
and be allowed to settle over night or longer, when the 
oil which comes to the top can be drawn off and the 
pigment mixed with clean turpentine. If but a very 
small amount of the white is to be added it is not 
necessary to draw off the oil, but do not add any more 
oil to the color. 

Coach, Ivory or Drop Black in japan may be added 
to a color to darken. But a very small amount of 
black can be used, however, without killing the lustre 
and life of a color. To darken a color it is better to 
add to it a darker shade of the same color. For in- 
stance, add to Light or Medium Milori Green a very 
little Dark Milori Green. To a red, yellow or blue 
which is too light add a little of a darker shade of the 
same color. 

Any color may be made lighter or darker in the 
finished effect simply by making the lead ground coats 
very light or very dark according to which is wanted. 

Any color you may select may be changed a little 
simply by adding a touch of some other color which 
it needs to improve it. If you have a yellow which is 
a little too much on the lemon yellow order, with a 
greenish cast, you may warm it up and produce a 
yellow with an orange tone to it simply by adding a 
little red, — American Vermilion. Often the gray 
shades mixed from black and white alone have a cold 
bluish cast to them. A touch of red, yellow or raw 



66 AUTOMOBILE PAINTING 

umber makes a real improvement in them. 

If you can buy the exact color wanted it is better 
to do so, and use it as it comes without changing its 
shade. 

Turpentine is to be used to thin the paste color 
to brushing consistency. Make the color as thin as 
possible and yet have it cover well. The thinner it 
IS, the more easily and evenly it can be brushed on. 
Thin coats dry better than thick and are to be pre- 
ferred. If the coat is made too thin no harm will be 
done, but an extra coat will be needed to have the 
surface properly covered. If too thick the color will 
rough up and show brush marks, laps and joints ex- 
cessively. 

Unless you secure a brand of japan color which the 
manufacturer specifically says requires no binder, it 
is a good plan to add to the first color coat about one- 
fifth raw linseed oil to four-fifths turpentine when re- 
ducing the paste to brushing consistency. Most japan 
colors have a tendency to be a little too brittle, and 
without a few drops of linseed oil at least, may pro- 
mote cracking later on, if the ground coats happen 
also to be a little too hard and inelastic. More oil 
than that ought never to be used, because it will pro- 
duce a surface with a gloss when it should be flat to 
receive the varnish coats. 

A second coat of flat color should have but half as 
much oil and the next coats still less. 

Every effort should be exerted to brush these color 
coats on as smoothly as possible and free from laps, 
joints and brush marks, because but very little rub- 
bing can be done on color coats to remove them. 

Hold the brush naturally and lay the coats on as 
described in Operation 3 for the priming coat. Color 
coats set rather quickly, so it is essential that large 
brushes, three or four inch, be used for large surfaces. 
On large surfaces it is well to disregard the brushing 
procedure outlined as best for smaller surfaces; that 
is, coating in the corners of a surface first, the edges 
next and finally the center area. Lay the color on a 



AUTOMOBILE PAINTING 67 

two or three foot stretch in the center of the large 
surface; or begin at the top side and work down, but 
lay the color on fast to each area two or three feet 
square, then go back, smooth up laps and joints with 
the tip of the brush and cut the edges of the color 
clean. Move on to the next section of the surface and 
♦coat it in the same way, taking care to join up smoothly 
with he color of the previous section. When color 
sets too fast to brush on well a few drops of raw lin- 
seed oil will slow it up enough. 

It is well to flow color coats, especially lake pig- 
ments, freely on to the surface. Do not try to stretch 
each brushful out to see how far it will go. Make it 
cover a moderate amount of surface, smooth off the 
area nicely and then let it alone. 

Blue must be handled in a different manner than 
other colors are sometimes used. Clear varnish spread 
over flat turpentine coats of color dulls and hides the 
pure tone of blues every time. It is desirable to add 
a little color to each varnish coat spread, except the 
finishing varnish, and it is really necessary to do so 
when blue is the color concerned, if you would pre- 
serve its pure tone to show in the finished surface. 

Ground lead coats had best be tinted a moderately 
deep shade with orange chrome yellow or medium 
chrome yellow and a little red for most blues. 

OPERATION 14. 

Japan Color Coat With Varnish. 

Allow 12 hours to dry. 

This coat is in all respects the same as Operation 
13, except that in place of a part of the turpentine a 
very little of the rubbing varnish is added to produce 
a little harder surface. Mix the varnish and a little of 
the turpentine together, before adding it to the color 
paste, then thoroughly mix all together and beat the 
color up fine. 



68 AUTOMOBILE PAINTING 

OPERATION 15. 

Rubbing Varnish — ^with Color. 

Allow 48 hours to dry. 

The coat mixed as per Operation 14 was chiefly 
color with a little varnish added. This coat is just 
the reverse in composition — that is, chiefly varnish, 
with but a little color in it. The best rubbing- var- 
nishes, considering durability and rubbing qualities 
most important, are quite decidedly amber, or yellow 
in color. This color naturally changes the tone of flat 
colors over which it is placed, giving them a yellow- 
ish cast. To overcome this and preserve the pure tone 
of the flat color coats just put on, a very small quan- 
tity of the japan color is thinned with just enough tur- 
pentine to permit it to be thoroughly mixed and beat 
up fine and added to the rubbing varnish. The color 
should be strained into the varnish through two thick- 
nesses of cheese cloth and then stir the varnish long 
enough to completely take up the color. Handled in 
this manner, the pure tone of the color coats is not 
only retained but actually increases in brilliance. A 
decidedly better effect is gained than when clear var- 
nish is used. 

Use one to three ounces of the japan color as it 
comes from the can to a quart of rubbing varnish. 
Thin a little to brushing consistency with turpentine. 
This coat should be sufficiently thick to flow on after 
the brush like any varnish coat; that is, it cannot be 
stretched or brushed out to cover considerable sur- 
face, as with paint. 

An extra pale varnish can be had which would not 
influence the color tone quite so much, but even this 
varnish should carry a little of the color in it. The 
extra pale varnishes are not generally used except for 
very light colors. 

It is possible to secure rubbing varnish with the 
color already mixed with it in the correct proportion. 
It is called color varnish. When purchased from a re- 
liable manufacturer this is an excellent material to use. 
When only a small amount is needed it is sometimes 



AUTOMOBILE PAINTING 69 

better to buy a quart of color varnish than to spend 
much time mixing it, provided you can get the color 
wanted. 

Whether a prepared color varnish is used or clear 
rubbing varnish to which you add japan color the var- 
nish should be used as nearly as possible the same 
consistency as it comes from the sealed can. 

Add no turpentine to the color varnish, or any var- 
nish, as the manufacturers have made it of the proper 
consistency for brushing and to wear well. When you 
add the color to clear rubbing varnish use only as 
much turpentine as will bring the color to about the 
same consistency as the varnish. 

When varnish has stood for some time in a can 
not sealed air tight it will get thick enough to require 
a little thinning with turpentine. If the can or pot was 
open enough to admit dust then the varnish, after 
standing in a warm room two or three days, should be 
strained through cheese cloth, two thicknesses, when 
it has been thinned with turpentine. 

Any varnish which has become chilled will appear 
thick and sluggish, it will not brush well, the gloss 
will be poor and it may wrinkle and sag. Do not 
thin it but warm up slowly, not on a fire, but by be- 
ing allowed to stand in a warm room a day or two. If 
you must use immediately set the can in warm water 
a while to warm it up very gradually. If the varnish 
is allowed to stand in a warm room for a week or so 
before it is needed it will brush just right. 

It is not a wise plan to use one manufacturer's rub- 
bing varnish, or finishing varnish, for one coat and 
another brand for the second coat. The two differ- 
ent makes possess different degrees of elasticity, and 
one expanding more than the other when the surface 
gets hot pulls against the other. Crazing or cracking 
may result. Likewise, it is a bad practice to mix 
different kinds of the same brand together, — rubbing 
and finishing, for instance, or two different brands of 
the same kind of varnish. Well known and reliable 
varnish manufacturers make each kind of varnish ex- 



70 AUTOMOBILE PAINTING 

actly to fit its purpose, they are better able to temper 
it as to elasticity and hardness, to make it thick or 
thin as conditions require than the most experienced 
of painters. Follow the manufacturer's instructions as 
to the use of varnish. They are as interested as you 
are in having a good job result from your efforts. 

In spite of the manufacturer's best efforts the best 
of new varnish sometimes contains enough grit or 
sediment to disfigure a fine surface. As a matter of 
caution, therefore, strain the varnish through cheese 
cloth into the pot or cup from which it is to be used, 
making certain first that the cup is perfectly clean. 

When the surface has become thoroughly dry after 
the washing Operation No. 6, it will probably hold a 
little lint. Wipe this off with the bare palm of the 
hand, a chamois skin or a piece of silk just before the 
varnishing begins. A brush duster with the bristle 
ends slightly wet with linseed oil from the fingers 
will pick up dust nicely when lightly passed over the 
surface. Put no oil on the surface. 

A surprising amount of grit, skins and all such sub- 
stances as will surely mar an otherwise fine job of 
finishing is usually found in brushes used before. Even 
new brushes contain much dust, short hairs, loose 
bristles and such. Shake out these substances as best 
you can and then wash the brushes thoroughly in 
clean benzine, gasoline or turpentine, working the 
liquid well through the bristles up where they join the 
handle. 

The brushes needed are listed in Chapter III. 
Some prefer a 2^ inch brush and a ^ inch rather than 
the larger ones named. Good clean chamois skins and 
fleece wool sponges are worth their cost for washing 
and cleaning of surfaces to be varnished. 

The matter of absolute cleanliness with everything 
which has to do with varnishing is the very first law 
to be observed. Good materials, tools and surfaces 
will never produce a fine finished job unless this law 
is observed. As important as clean surfaces and 
clean brushes are of themselves, they do not succeed 



AUTOMOBILE PAINTING 71 

unless supplemented by clean surroundings, clean 
hands and clothes, clean dustless floors and walls to- 
gether with clean working habits. Washing and wip- 
ing up of dust is one way to keep the varnish room 
clean, a vacuum cleaner is better yet. 

FLOWING ON VARNISH. 
Section 13. 

Assuming that clean, strained varnish has just been 
put into a clean pot, that the brushes are clean, the 
surface clean and that the temperature is about 70** 
or a little over, the next step, after seeing that all win- 
dows and doors through which dust may blow in are 
closed, is to work the brush into the varnish. Dip 
in and wipe out the varnish on the side of the pot, 
and then repeat several times until the varnish is com- 
pletely worked through the brush. 

Because one has learned how to brush on paint, it 
does not follow that he can for that reason lay on var- 
nish coats well. The two operations are quite differ- 
ent as to handling the brush. When you spread paint 
you try to stretch or brush it out as far as possible and 
still hide the surface. Only a little paint is put into the 
brush and that is carefully brushed out before taking 
up more. When varnishing the brush is carried from 
the pot quite as full of material as possible and it is 
flowed on, leaving a thick coating to level up itself, 
not so thick that it will run, but much thicker than 
paint. Because varnish sets quickly it must be put 
in the proper place and spread to an even depth quick- 
ly. To go back a little while after finishing a panel 
to touch up sags and laps roughens up the varnish, so 
each area must be finished while you are on it. 

For body parts of the auto surface about the same 
procedure is followed when flowing on varnish as 
when painting; that is, mouldings first, then corners 
of panels, sides of panels and finally centers of panels. 
Large surface areas, however, are handled to best ad- 
vantage often with a little different procedure as to 
the order of parts finished first. 

In coating the body, for instance, start at the front 



n AUTOMOBILE PAINTING 

right hand side next to the dash and coat in a space 
of about two feet toward the rear. Put onto this small 
surface immediately about all the varnish you will 
need to finish it by one or two helpings from the pot, 
taking a brush full and smearing it in the center of the 
panel. Of course, it will run, but you can catch it up 
with the brush in a minute. Now wipe your brush out 
evenly and begin at the top of the panel to spread, or 
rather, flow the varnish on downward with an even 
pressure of the brush to insure a uniform thickness of 
the coat and a level surface. Draw the brush down to 
about the center of the panel and then lift it clear of 
the work. Take up a little more varnish on the brush 
from the center of the panel and spread it from the 
bottom margin upward to meet the downward stroke 
just completed. Coat in the whole panel in this man- 
ner, being careful not to let the varnish accumulate in 
the corners and at the edges of mouldings. When it 
has been spread out evenly finish up with a cross 
stroke at top and bottom. Never mind brush marks, 
the varnish will level up itself and hide them. 

This method of putting into the center of the panel 
a lot of varnish at once and then spreading it around, 
is a much better one for varnish than dipping out of 
the pot only a brushful at a time and spreading it be- 
fore taking out more, because the latter practice leaves 
a thick spot of varnish in each place where the new 
brushful was first put on, the coat is not of a uniform 
thickness and it sets before you can go back to pick 
up the thick places and spread them around. Put on 
too much, rather than too little, varnish. Too much 
can readily be worked off on to the next surface, 
whereas too little necessitates adding another brushful 
or two on top of varnish which has already begun to 
set and get sticky. In this way the coating will be a 
thick and thin one, because the last varnish added will 
not flow out with the first as freely as It should. 

In brushing on varnish cross strokes are more 
nearly justified than when working out paint, espec- 
ially on the ends of panels and such places. In fact, 



AUTOMOBILE PAINTING 73 

each surface of considerable area ought to be brushed 
over completely and quickly with the tip of the brush 
from top to bottom and then from side to side cross- 
wise to insure an even distribution of the varnish, tak- 
ing care to wipe out your brush on the edge of the 
pot after you have gone over a surface completely one 
way and before you begin brushing in the opposite 
direction. This will remove from the brush any grit 
or fibre which may have been picked up from the sur- 
face. 

Keep in mind that varnish is to be put onto the 
proper place with an even thickness of film all over 
the surface, and to catch up edges not covered, with 
as few strokes as possible. It is easy to brush it too 
much, — to worry or tease it, as the painters say. Lay 
the varnish where you want it as quickly and evenly 
as possible and then let it alone. Flow varnish on 
freely, don't try to spread it out like paint. One coat 
flowed on is easily equal or superior to two coats 
stretched out. 

When finishing off a surface enough varnish should 
remain to permit the brush to move freely rather than 
to drag and stick, but when the varnish runs after 
laying it ofif nicely with the brush too much of it re- 
mains on the surface. Wipe the brush out on the pot 
and then pick up a little of the excess varnish on the 
surface. Smooth it off again. 

Don't allow an excess quantity of varnish to ac- 
cumulate in corners, around bolt heads and such 
places, but rather wipe out your small varnish brush 
until it carries very little varnish and then proceed to 
brush out excess varnish which may have accumu- 
lated anywhere. Do this just before you have given 
larger surfaces the finishing touch with the tip of your 
brush. 

When the varnish has been finally smoothed off 
with the finishing brush, look over it carefully for fine 
pieces of dirt and grit, also for bristles which may have 
become detached from the brush. Such imperfections 
can readily be removed with the point of a darning 



74 AUTOMOBILE PAINTING 

needle or a shoemaker's awl. The end of bristles and 
fibres should be lifted and then pulled out with the 
fingers. If necessary use the small brush to smooth 
out these breaks in the varnish. 

About five hours' drying in a properly ventilated 
shop at 70° will see the varnish dry enough to be dust 
free and in forty-eight hours dry enough to handle. In 
varnishing do not reverse the direction of your brush 
while it is in contact with the surface ; lift it clear of 
the varnish at the end of the stroke before drawing 
the brush back in the opposite direction. Reversing 
the brush on the surface doubles up the bristle ends so 
as to bring out any grit which may be in the brush; 
and it is deposited on the surface. Look out for runs 
always so you may smooth them out immediately. 
When a run occurs pound it out level with the end of 
the small brush from which most of the varnisih has 
been scraped. Holding a hot iron just over the run 
(not touching it) will often cause it to smooth out 
with the aid of the brush. It may be necessary at 
times to add more varnish to the surface about a run, 
then brush it all out well both ways, wiping out the 
brush often so it will remove as much of the varnish 
as possible after the run has been brushed out. 

After varnishing avoid moving about the room rap- 
idly and unnecessarily. Even walking across the 
room, moving equipment and closing doors quickly 
stirs up considerable dust which will settle on the 
fresh varnish. 

Not less than 48 hours should be allowed for this 
varnish color coat to dry hard, and more time makes 
for easier rubbing and a better job. 

Should slight runs or fat edges dry on this color 
varnish coat, in spite of your care in looking for them 
while brushing, you must patch them as best you can. 
A light, careful rub over the run when dry enough, 
first with pumice and water, then with rotten stone 
will do, if done with the idea of only cutting the run 
to the level of the surface and not through to the 
ground color. The English carriage painter uses in- 



AUTOMOBILE PAINTING 75 

stead a piece of cuttlefish bone such as we give to 
canary birds to pick at. The hard shell exterior is 
carefully cut away with a knife, at least from one side, 
as it would scratch the surface. Then wet the run 
with water and rub easily with the soft side of the 
cuttlefish bons. Should the color varnish be cut 
through to show the filler or ground coats, touch up 
these places with a little of the varnish color spread 
thin on the finger to stain the spots and let dry. 
Repeat Operation 9. 

The color varnish coat just finished, after drying 
48 hours or longer, is ready to be rubbed smooth and 
free from grit. If previous instructions have been 
faithfully carried out as to washing and cleanliness the 
surface is comparatively free from grit and dirt nibs. 
At any rate it is to be rubbed only enough to make 
it clean and smooth, never rub as long or as hard as 
roughstuflf coats or you will cut away too much var- 
nish. A light, evenly distributed rub will be best. 

The rubbing of color varnish had best be performed 
with powdered pumice stone and water, using a piece 
of thick rubbing felt as the tool. Experienced finishers 
may prefer the artificial rubbing brick for rubbing 
varnish as well as roughstuif and lead coats, but one 
without much experience will get on best with pow- 
dered pumice and the rubbing felt, which is less likely 
to cut through the varnish accidentally. 
Repeat Operation. 6. 

In addition to the washing method given in Oper- 
ation 6 for especially fine results the varnished and 
rubbed surface is given a water rub by expert auto 
painters. The water is first flowed on generously from 
"a first wash pail" of clean water, using a clean fleece 
wool sponge which is never used for anything else, 
then clean water from "the second wash or rinse pail" 
is flowed on with a different clean sponge to float off 
any particles of dirt on the surface. While this water 
is being flowed on the surface is rubbed evenly and 
not very hard with a clean piece of rubbing felt soaked 
in water. The object of this operation is to dislodge 



7f AUTOMOBILE PAINTING 

any fine particles of pumice which may be imbedded 
in the surface. 

The vigorous use of the water brush (an oval paint 
brush or sash tool) is very necessary to remove pum- 
ice stone and grit which at times accumulates in 
crevices under edges of mouldings and such places. 
If not washed out and floated off this grit will be 
taken up by the varnish brush and distributed over 
the surface in the fresh varnish, making it feel like 
sandpaper. 

After the thorough wash the surface may next be 
wiped to remove the water. For this purpose a piece 
of chamois skin which has been used enough to free 
it from lint is best. Soak it in clean water first, wring 
i't out and wipe down the surface only fairly dry. Next 
wipe down with a piece of old clean dry silk and let 
the balance of the moisture evaporate. Do not try 
to rub the surface completely dry. Whenever possible 
allow the surface to dry off for an hour or more be- 
fore applying the next coat. 

OPERATION 16. 

Rubbing Varnish — Clear. 

Allow 48 hours to dry. 

The material for this coat is the same rubbing var- 
nish as was used on the previous coat, but minus the 
japan color used in that coat. Where light colors are 
used for the finish it is a good idea to put into the 
varnish a very little of the color, say one ounce to a 
quart of varnish, for this coat, too, just enough to off- 
set the yellowing effect of the varnish. In fact, it 
will do no harm to do this in all varnish coats except 
the last, no matter what color is used. 

Before this coat is brushed on, the surface is sup- 
posed to have been rubbed as per Operation 9, and 
washed as per Operation 6. Now, after you have 
worked your brush into the varnish, by dipping it in 
and wiping out on the side of the pot several times, 
go over the surface with a clean, dust-free duster, or 
use an oval varnish brush, dry. The idea is to remove 



AUTOMOBILE PAINTING 77 

the dust on the surface which has accumulated there 
since the washing operation. The surface will not look 
dusty, but it is, even if the washing was done but half 
an hour before. Remember the cloud of little dust 
particles sailing around in sunbeams coming through 
an open window? The air, in spite of every precau- 
tion, is full of this dust always, so the surface must be 
dusted immediately before you begin to brush on the 
varnish. 

From this point on the brushing and handling of 
this coat should be the same as was prescribed for all 
varnish coats in Operation 15. 

Repeat Operation 9. 

Rub with powdered pumice and water with a rub- 
bing felt as the tool. 

Repeat Operation 6. 

With especial reference to extra precaution as 
given for washing up before the clear rubbing varnish 
coat. 

Initials and Monograms. 

At this point the surface is ready for initials, mon- 
ograms or striping. See Chapter IX. 

OPERATION 17. 

Final Varnish Coat. 

Allow 3 days to dry. 

The last coat of varnish on the body ought to be 
of the very best quality. What is called "Body Var- 
nish" for finishing, is the grade. When a quick job 
is wanted, a grade called ''Quick Finishing" is the ma- 
terial used as the last varnish coat. When the most 
durable job is expected the first mentioned grade of 
varnish is best. It is more elastic than the quick dry- 
ing and more serviceable. 

Clean off the surface with a duster as before and 
then it is ready to coat with varnish. 

The flowing on of the last varnish coat, the brush- 
ing and operation in general are exactly the same as 
for the varnish color coat, Operation 15, and the clear 



78 AUTOMOBILE PAINTING 

rubbing varnish coat, Operation 16. All varnishing is 
at best very particular work which calls for careful, 
painstaking effort. The compensation for that kind 
of effort you will consider large, however, when you 
see the full, brilliant and beautiful surface produced. 

The period of three days for drying mentioned in 
the schedule is the minimum to be allowed. A job 
will always wear longer and appear better when a 
longer drying time is allowed. The newly varnished 
car ought never to be put into service before the var- 
nish is sufficiently hard and dry to be unharmed by 
dust, mud and road oil. Immature varnish has not 
the power to resist wear and general service condi- 
tions, as it will have later on when completely dry 
and hard. 

A point to be remembered is that the varnish coats 
will possess a much nicer appearance a week or so 
after it has been on the road and has been washed 
once than the day it comes out of the shop. The rea- 
son for this is that the wind, road dust, friction and 
washing combine to remove the lint and very fine dust 
particles which adhere to the finished varnish while 
it is standing to dry. 

Repeat Operation 6. 

On the fourth day after the final varnish coat has 
been put on give a thorough washing with clean, cold 
water, using a clean, soft sponge. 

OPERATION 18. 

Polishing. 

After the final wash, dry the surface with the 
sponge, squeezing the water out of it. Allow ten or 
fifteen minutes for the moisture on the surface to 
evaporate and then rub carefully all over with a dry, 
soft chamois skin until the new varnish is completely 
dry and shows a good polish. The car is then ready 
for the road. 



AUTOMOBILE PAINTING 79 

THE HOOD AND FENDERS. 

These parts of the car offer a little different prob- 
lem than the body because of the excessive heat and 
vibration to which it is subjected. A thick body of 
paint is not wanted because it may blister from the 
heat. 

Fortunately hoods and fenders are usually finished 
up by the mechanics with a smooth and level sur- 
face, so the roughstuff filler costs may be eliminated. 

Operation 

Clean the Surface 1 ] 

Sandpaper, No. Ij^, To Roughen Up 2 j- 1st Day 

Priming Coat 3 J 

Sandpaper, No. 51 

Dust Off 6^ 2nd Day 

1 Coat Lead Ground 10 J 

Rub with Powdered Pumice and Water 9] 

Wash 6 [ 3rd Day 

1 Coat Japan Color, with Turpentine 13 J 

Rub with Horse Hair 11] 

Dust Off 6 Uth Day 

1 Coat Japan Color, with Finishing Varnish.. 19 J 

Rub with Pumice and Water 9 1 5th, 6th 

Wash 6 [ and 7th 

1 Coat Chassis Finishing Varnish 20 J Days 

Wash 67 8th 

Polish, ready for service 18 J Day 

The operations numbered in the above schedule are 
the same as given for finishing the body with the fol- 
lowing additions and exceptions : 

Operation 10. This lead coat as used on the hood 
and fenders will not require as much linseed oil as 
when put on over roughstuff coats. Cut the amount 
of oil down to about one-fifth, with four-fifths turpen- 
tine. 

Operation 9. Rub with powdered pumice stone 
and water, with the felt rubbing pad as the tool. 

OPERATION 19. 
Japan Color — ^with Finishing Varnish. 
This operation is exactly the same as Operation 



80 AUTOMOBILE PAINTING 

14, except that a little finishing or body varnish is 
added to the color in place of rubbing varnish. The 
latter dries too hard and is not elastic enough to with- 
stand heat and the vibration of hood and fenders with- 
out cracking. 

OPERATION 20. 
Chassis Finishing Varnish. 

Exactly the same as Operation 17, except the grade 
of varnish to be used. Some varnish manufacturers 
make a special grade of varnish called Chassis Finish- 
ing, or by some other name, which is better for hoods, 
radiators, fenders and mud skirts than the body finish- 
ing varnish. The latter varnish is by no means un- 
suited to these parts. Many finishers prefer the body 
varnish for all parts of the car. 

When a shop is equipped with a small gasoline 
baking oven the auto painter can save time by baking 
on the hood and fender finishes. A little harder sur- 
face will be gained also. More on this subject will be 
found in later chapters. The baking is not exactly 
necessary to securing a fine and durable surface. 

When these parts are to be finished in black the 
schedule should read this way; five coats in ten days: 

Operation 

Clean the Surface 11 

Sandpaper to Roughen Up 2 |- 1st Day 

Priming Coat 3 J 

Sandpaper No. 5 ] 

Wash 6 [ 2nd Day 

1 Coat Ivory or Coach Black 21 J 

Rub with Horse Hair 11] 3rd 

Dust Off 6 Und 

1st Coat Black Japan 22 J 4th Days 

Rub with Powdered Pumice and Water 9] 5th 

Wash 6 Und 

2nd Coat Black Japan 22 J 6th Days 

Rub with Powdered Pumice and Water 9] 7th, 8th 

Wash 6 Und 9th 

1 Coat Chassis or Body Finishing Varnish.. 20 J Days 

Wash 6 1 10th 

Polish, ready for service 18 J Day 



AUTOMOBILE PAINTING 81 

OPERATION 21. 
Ivory or Coach Black. 

This coat is handled the same as the flat color coats 
in Operation 13 in all respects, except that a black 
pigment is used in place of japan colors. These pig- 
ments are Ivory Black or Coach Black, ground in 
Japan. Thin with turpentine and brush on same as 
colors. 

OPERATION 22. 
Black Japan. 

This is a varnish coat and it should be handled in 
all respects the same as described for varnish in Op- 
erations 15, 16 and 17. Black Japan is not transpar- 
ent like other varnishes, but quite a black, opaque 
material which looks and works like varnish. It dries 
more quickly and harder than some varnishes and is 
quite elastic. It stands up well under both heat and 
vibrations when of good quality. The cheap black 
japans commonly sold for use on pipes and other or- 
dinary outside work are not suitable. 

THE FRAME, SPRINGS AND AXLES. 

Operation 

Clean the Surface 1 ) 1st 

Priming Coat 3 j Day- 
Glazing Putty 12 2nd Day 

Sandpaper , 5 | 3rd 

Wash 6] Day 

If to Be Finished in Black 

1 Coat Ivory or Coach Black 21 3rd Day 

Rub with Horse Hair 11 "1 4th 

Wash 6 [ and 

1 Coat Black Japan 22 J 5th Days 

Rub with Powdered Pumice and Water 9] 

Wash 6 [ 6th Day 

1 Coat Chassis Finishing Varnish 20 J 

Wash 6 1 9th 

Polish, ready for service , 18 j Day 



82 AUTOMOBILE PAINTING 

If to Be Finished in Color 
1 Coat Lead Ground 10 3rd Day- 
Rub with No. Sandpaper 51 

Wash 6Uth Day 

1 Coat Japan Color, with Turpentine 13 J 

Rub with Horse Hair 11"] 

Dust Off 6 [ 5th Day 

1 Coat Japan Color, with Finishing Varnish. . 19 J 

Rub with Horse Hair 11 "| 

Dust Off 6 V 6th Day 

1 Coat Rubbing Varnish with Color 15 J 

Rub with Powdered Pumice and Water 9] 

Wash 6 [ 8th Day 

1 Coat Finishing Varnish 20 J 

Wash 6Mlth 

Polish, ready for service 18 j Day 

The operations included in this schedule have all '' 
been given before, so the schedule is self-explanatory 
and sufficient to give the correct idea about finishing 
these parts. 

It is well to remember that such parts as frame, 
springs and axles are not often seen, as the fenders 
and mudskirts hide them from close inspection. It 
is useless and surely impractical to put as much time 
on these parts as is needed to finish them as highly 
as the body. Even when they are free from mud, 
they are located so far under other car parts that no 
one ever pays any attention to them. Do not take it 
that such parts ought not to be finished carefully at 
all. That would be worse than to put too much time 
on the chassis. Make the parts clean, fill them well, 
smooth up nicely and varnish. Put on enough coats 
to make a serviceable job, to keep the parts from rust- 
ing, but do not put in a lot of time on roughstuif filler 
coats and fine rubbing operations. 

Hard putty as used on the body is out of place 
on these under parts because the constant vibration 
will cause it to drop out. 



AUTOMOBILE PAINTING 83 

THE WHEELS. 

Operation 

Clean the Surface 11 

Sandpaper, No. 1 S I 1st 

Dust Off 6 [Day 

1st Lead Ground Coat, white or tinted 10 J 

Putty 4 2nd Day 

Sandpaper, No. 0..... 5] 

Dust Off 6 f 3rd Day 

2nd Lead Ground Coat, white or tinted 10 J 

Rub with Horse Hair 11] 

Dust Off 6 Uth Day 

3rd Lead Ground Coat, white or tinted 10 J 

Rub with Powdered Pumice 91 

Wash 6 V 5th Day 

1 Coat Japan Color, with Turpentine 13 J 

Rub with Horse Hair Ill 

Dust Off 6 y 6th Day 

1 Coat Japan Color, with Finishing Varnish.. 19 J 

Rub with Horse Hair 11 1 7th 

Wash 6 }• and 

1 Coat Rubbing Varnish, Clear 16 J 8th Days 

Rub with Powdered. Pumice 91 9th 

Wash 6\ and 

1 Coat Chassis Finishing Varnish 20 J 10th Days 

Wash .^ 6 M2th 

Polish, ready for service 18 J Day 

The operations in this schedule have all been ex- 
plained for other parts of the car except Operation 23. 

The first lead ground coat. Operation 10, should be 
mixed with about one-third raw linseed oil, and two- 
thirds turpentine as thinners. The second and third 
lead ground coats require less oil, about one-fourth 
oil to three-fourths turpentine. 

OPERATION 23. 

Wood Filler. 

The wood parts of the wheels, the wood dash and 

all other wood parts to be brought up with a fine 

finish require filling of the pores in the wood. For 



S4 AUTOMOBILE PAINTING 

this purpose secure a small can of liquid wood filler 
from any paint store. 

For filling wheels brush the filler on to the bare 
wood quite thick, allow it to stand ten minutes, or as 
long as the directions on the can specify, just long 
enough so that the filler sets but doesn't get hard, then 
wipe it off crosswise of the grain with a piece of ma- 
chine waste or coarse cloth. Allow the filler to stand 
at least twelve hours before sandpapering. To fill 
the pores of the wood up level with the balance of 
the surface is all that is expected of this material, it 
should not cover the wood or obscure thfe grain. 

When filling a dash or any wood to be stained, the 
bare wood is stained first and the filler is put on after 
the stain has become dry. Mix a little of the stain 
with the filler before using to make it the same color. 
The filler is wiped off and handled exactly in the same 
manner as when the stain is not used. 

OPERATION 24. 

White or Tinted Enamel. 

When the wheels are to be finished pure white 
or with some such light tint as ivory, cream, light 
blue, green or gray a quick way to produce a service- 
able and fine appearing job is to follow the schedule 
given at the beginning of this section to the point 
where the third lead ground coat has been put on, 
rubbed and washed. Then flow on two good coats of 
the best white enamel you can get, rubbing the first 
one lightly with powdered pumice and water as per 
Operation 9. Enamels which are suitable are listed 
in Chapter II on materials. 

When light tints are wanted carry the work along 
in exactly the same way after adding to the enamel 
a little japan color to bring it to the tint wanted. Mix 
the color in a separate pot with turpentine, beat it up 
thoroughly, strain through cheese cloth and thor- 
oughly stir into the enamel. 



AUTOMOBILE PAINTING 85 

A coat of finishing varnish over the enamel will 
give it additional life, but it is not really necessary 
and its color will darken the enamel finish a trifle. 

OPERATION 25. 

Natural and Stained Wood Finish. 

With most body colors wheels finished in the 
natural wood color or stained with the grain showing 
look very well indeed. 

SCHEDULE FOR STAINED FINISH. 

Operation 

Clean the Surface 11 

Sandpaper No. 5 ( 1st 

Dust Off 6 I Day 

Stain 26 J 

Wood Filler and Wipe Off 23 j 2nd 

Putty 4 3 Day 

Sandpaper 5] 

Dust Off 6 [ 3rd Day 

First coat chassis Finishing Varnish 20 J 

Rub with Powdered Pumice 91 5th 

Second Coat Chassis Finishing Varnish 20 j Day 

Wash and polish ready for service 18 8th Day 

SCHEDULE FOR NATURAL WOOD COLOR. 
Follow last given schedule for stained finish in 
every detail, but eliminate the stain, Operation 26. 

OPERATION 26. 

Stains. 

The stain to be used on wheels, dash boards and 
any wood to be given this finish had best be one of the 
alcohol or spirit stains which can be secured from most 
any paint store. The varnish stains are not at all 
suitable. The oil stains can be used. Usually two 
applications of the latter are needed to give a dark 
effect. The oil stain is brushed on, allowed to stand 



86 AUTOMOBILE PAINTING 

half an hour or so and then is wiped off with a cloth. 
After about twelve hours if the color is not sufficiently 
dark repeat the stain coat. Oil stains are mixed from 
first class oil ground tinting colors, raw sienna, burnt 
timber, Vandyke brown for oak and walnut shades. 
Burnt sienna, rose pink and one of the browns are 
used for mahogany colors. Thin these colors with 
about one-third raw linseed oil and two-thirds turpen- 
tine. 

Dash Boards. 

This part of the car is finished in the natural or 
stained color after exactly the same schedule as was 
given for wood wheels in Operations 25 and 26 except 
that a fine polishing varnish is sometimes used as the 
last coat. It is polished by rubbing first with pow- 
dered pumice and water on a piece of felt, and then 
with rotten stone and sweet oil or olive oil on a piece 
of plush cloth. The rubbing and polishing requires 
an even touch, not too hard and the surface must be 
rubbed uniformly all over. Wash up with benzine. 



CHAPTER VI. 

Taking Care of the Auto Finish. Lake Color Pigments. 
Finishing Engines. Painting the Car White. 

The full gloss finish is wanted by most car owners. 
Occasionally one wants, for the sporty roadster or a 
gray body car, the dull, metallic lusterless finish and 
in the face of such a preference there seems to be but 
one really practical way to produce the effect, and that 
is to first build up a full gloss finish in exactly the same 
manner as if that was wanted, using the same mate- 
rials. When the finishing varnish has had three or 
four days to dry hard, rub it down lightly and evenly 
with fine powdered pumice stone and water with a felt 
rubbing pad. Rub the same as the undercoats of rub* 
bing varnish but not so hard. 

Having finished the pumice stone rub, wash up and 
dry carefully. Then with a clean rubbing felt free 
from pumice and grit, rub or polish the surface using 
olive or sweet oil in place of the water and powdered 
rotten stone in place of the pumice stone. After a 
quick but thorough rub with these latter materials, 
wipe off the surface with clean waste and you will have 
a dull velvet like lustre that is indeed attractive. It 
is as durable as the gloss and as easy to keep clean. 

There are special flat paints and flat varnishes 
offered for producing the dull finish but they have such 
disadvantages as make them impractical, to say the 
least. They are diflicult to wash and keep clean. 
Furthermore, they do not afford the needed protection 
to initials, monograms and striping because these orna- 
ments must be placed on top of the finishing coat in- 



88 AUTOMOBILE PAINTING 

stead of under it, as when the body is finished in the 
regular way. 

TAKING CARE OF THE AUTO FINISH. 
Section 14 

The washing of an automobile seems to most people 
such an exceedingly simple undertaking that a dis- 
cussion of the subject here may appear unnecessary. 
And yet, the damage to many fine finishes caused by 
-careless and improper washing which is to be noted 
in most any community indicates that many do not 
know how to wash a car or are very careless. In 
either event a short mention of what does and does 
not constitute careful and correct washing is sure to 
be helpful. 

A newly painted car is said to be ready for serv- 
ice when the last coat of varnish is dry enough to 
avoid collecting dust, is without tack and can be 
handled. That much is true when careful service is 
intended, but strictly speaking, new varnish on a car 
does not become fully dry and mature for several 
v/eeks and for that reason any washing done should 
include only the use of clear, cold water, no soap and 
never alkali soap powders. It is entirely possible to 
strip off both varnish and paint coats with hot water, 
soap and gold dust or such soap powders when used a 
short time after the newly varnished car has been 
put into service. 

The best time to remove mud from a car is when 
it is still wet. Whenever it is washed off avoid using 
a strong stream from a hose because that simply 
•drives and beats the mud against the varnish in a way 
that resembles a rubbing with pumice and water. If 
a hose is used let it be with low pressure. Soak the 
mud thoroughly, let it stand awhile and then go back 
to it with more water later. Do not rub the varnish 
off with sponge or cloth until thoroughly wet through, 
unless you want to produce an action quite like rub- 



AUTOMOBILE PAINTING 88a 

bing the varnish with sandpaper. Wet the mud so 
thoroughly that it will come off without any other 
help if possible. 

With the mud soaked and washed off pretty well 
the surface may be cleaned up with a soft fleece wool 
sponge kept thoroughly soaked in water. After a 
thorough rinsing wipe off the surplus water, using a 
clean, soft chamois skin, wet it first, then squeeze out 
the water. It is not necessary to wipe the surface 
completely dry, nor even desirable. Allow the final 
moisture to evaporate. Then with a soft, dry chamois, 
rub the varnish to a polish. 

When the wheels and underparts pick up grease 
dampen a cloth with turpentine and wipe it off, wash- 
ing the spots immediately with clean, warm, (not 
hot) water and a touch of castile soap. 

Laundry soap, any soap strong in alkali and such 
soap powders as gold dust, are not suitable for wash- 
ing because they destroy the varnish. Neutral soaps 
like castile are not harmful but a lather of any soap in 
contact with the varnish should be avoided. When 
soap is necessary for removing the grease on the under- 
parts it should be completely dissolved in warm soft 
water. Take a gallon of soft water, add a pound or 
two of castile soap and heat slowly until the soap has 
been completely dissolved. Then keep this soap solu- 
tion handy and when the car is to be washed add 
about a quart of it to a gallon of soft water. After 
the mud has been soaked and washed off of the pa,rts 
having oil and grease on them, wash with this soap 
water, using a soft sponge and rinse with plenty of 
clean warm water. 

Soap should not be used on the body. It isn't 
necessary. Body varnishes will not stand it as well 
as chassis finishing varnishes. Clean soft water is 
effective for washing the body and the sponge should 
be watched to make sure it contains no particles of 
mud which will scratch the varnish. 

Of the many preparations on the market sold for 
the washing of cars, to remove mud without water 



S8h AUTOMOBILE PAINTING 

there is little to say. Generally they are harmful in- 
deed to the varnish. Any washing which does not 
contemplate the use of plenty of clean water had best 
be avoided. 

Body polishes and renovators are numerous indeed. 
A few are good but there are ten harmful preparations 
to every good one. Those with a paraffine oil base 
designed to be used to feed the varnish and put on 
only after a thorough water washing are probably best. 
They are rubbed on and wiped off immediately, leaving 
no surface coating. Paraffine oil alone is quite as 
beneficial and much cheaper. Linseed oil is especially 
bad as a polish and renewer. Being a drying oil it 
gums up the varnish and accumulates dust. While 
the finish on a car is new and as long as it retains 
a good lustre use nothing on it but clean water. 
Polish with a soft clean chamois. 

To allow a car to stand in the hot sun is harmful, 
especially newly painted cars. The varnish softens up 
under the heat and then dust lodges in it. 

When the varnish on a car wears thin, loses its 
lustre and shows up the bare color coats it is cheaper 
to have it revarnished immediately than to let the 
color coats wear through, making it necessary then 
to renew them. 

LAKE-COLOR PIGMENTS. 
Section 15. 

Chapter II on materials lists separate from the 
other colors what are called *'Lake" pigments or colors. 
They are a great deal more expensive than other japan 
colors and are used only for very fine work. 

The Lakes are exceedingly beautiful colors, soft, 
clear and bright when laid on a perfect foundation of 
ground coats of the proper color. This latter point is 
important, indeed, because the great transparency of 
the lakes causes them to magnify any surface defects 
in such a way as to make the smallest blemish appear 
tmduly prominent. 



AUTOMOBILE PAINTING 89 

Lakes come in unusual shades of red, purple, green 
and yellow. Being much finer and more transparent 
than other japan colors they dissolve more completely 
in varnish and lend their color to it without any cloudi- 
ness. 

The chief advantage to be gained by using lakes 
is that a wonderful depth of color is to be produced on 
bodies of considerable surface areas — large panels. In 
general the lakes are to be handled about like other 
colors today, after a better than usual surface has been 
developed up to the point where it is ready for color. 
The old method of spending an unlimited amount of 
time on preparing the ground is admirable but quite 
too slow for this day and age. That is one reason why 
lake pigments are not widely used. And after all, 
present day methods and requirements produce jobs 
which are sufficiently durable for the life of the car 
and to suit the owner's taste. 

There is but little advantage to be had by using 
lake colors and paying a greater price for them unless 
enough more coats will be used to bring out their 
beauty and utilize their virtues. At least two more 
coats of varnish are needed to accomplish this than are 
used on the average job where ordinary colors are 
used. For a good job using ordinary japan colors, a 
coat or two of the color thinned only with turpentine 
to dry flat would be put on over the lead ground coats. 
Then a coat of the color chiefly with a little varnish 
would come next, followed by a coat of rubbing varnish 
chiefly, with a little color and finally by clear finishing 
varnish. 

Now with lake colors the procedure would be a 
little different. The first color coat thinned with tur- 
pentine would be put on as described, but the next 
coat instead of being chiefly color and a little varnish 
would be a glaze coat composed chiefly of varnish with 
but little color in it. From the lead ground coats up 
the two different methods would proceed about like 
this: 



90 AUTOMOBILE PAINTING 

Using Ordinary Japan Colors. 

1 flat coat color and turpentine. 

1 coat color with a little varnish added to it. 

1 coat elastic rubbing varnish with a little color added 

to it. 
1 coat clear rubbing varnish. 
1 coat clear finishing varnish. 

Using Lake Colors. 
1 flat coat lake color and turpentine. 
1 glaze coat, elastic rubbing varnish with 1 oz. lake 

color added to 1 pt. varnish for lighter lakes, or 2 

oz. darker lake color to 1 pt. varnish. 
1 coat same, but with only about half as much color 

to same amount of varnish. 
1 coat same, but with only ^ oz. lake color to 1 pt. 

of varnish. 
1 coat same as last one. 
1 coat clear finishing varnish. 

A total of several varnish coats are especially de- 
sirable with lake colors. When well protected with 
varnish they hold their color and are indeed service- 
able. These rubbing varnish coats with color in them 
are but little thinner than straight varnish coats are 
used and they are flowed on quite as full and freely. 
The lake color is, of course, thoroughly beat up and 
dissolved in turpentine before being mixed with the 
varnish. 

For the most part the lead ground coats over which 
the turpentine flat lake color is placed should be about 
the same color as the lake pigment; but, of course, 
mixed from cheaper colors. For instance, the ground 
coats for expensive Scarlet Lake would be largely 
American Vermillion or Tuscan Red and orange 
chrome yellow; for Purple Lake use Ivory Black, 
Burnt Umber or Van Dyke Brown as a ground color; 
for Maroon or Munich Lakes, the ground may be a 
wine color not very dark, the ground for Carmine or 
Crimson Lake may be American Vermillion, wine 



AUTOMOBILE PAINTING 91 

color or one of the shades of red between the two pro- 
duced with Indian or Tuscan Red. The depth of color 
of the ground coats has a greater influence in deter- 
mining the finished color when lake pigments are 
used than with the use of ordinary japan colors, be- 
cause of the greater transparency of the former. If 
you want to see the real color of the lake pigment 
show up in the finish, make your ground coats a trifle 
lighter than the lake, but if a great depth of color of 
uncertain hue is expected the ground coats are to be 
about as dark as the lake color used. The great depth 
of color on lake painted bodies is an attraction indeed. 
At first glance it appears quite black, then one isn't 
sure whether it is purple, wine, green or what, but is 
certain it is not black, but beautiful above all. 

Whenever as much time and skill, which means 
expense, as are needed to produce, with lake colors, the 
really fine color efifects of which they are capable can- 
not be afforded, a job of marked beauty may still be 
had at less expense by following the exact method 
given in Section 13 for using the ordinary japan colors. 
That is, by using more lalce color in the first two coats 
of rubbing varnish, as much as three or four ounces of 
color to the pint of varnish, then leave out two coats of 
rubbing varnish. The greater clearness, transparency 
and lustre of the lake pigments will give you in the 
same number of coats and with the same method a 
brighter and handsomer finish. 

FINISHING ENGINES. 
Section 16. 

This work is usually left to the mechanics, but 
when the painter is expected to do it, he had best 
remove no wires, pipe lines or fittings, unless he knows 
motors as Avell as he does paint. Most motors refuse 
to run unless its supply lines are connected up just so. 

Clean off all grease and dirt first; and that is no 
small job. A grease gun with a pail of benzine, a 
large and small brush and plenty of clean rags are the 



92 AUTOMOBILE PAINTING 

tools needed. Squirt the benzine onto the engine free- 
ly everywhere, but first place a pail under the lowest 
point of the engine pan so as to catch the benzine as it 
runs off. A little turpentine and kerosene in the ben- 
zine cuts faster. 

With the surface clean, the best coating to apply is 
aluminum radiator bronze, using the usual bronzing 
liquid, 

PAINTING THE CAR WHITE. 
Section 17. 

Certain kinds of automobiles are of late being 
finished in pure white. Some are business cars, some 
taxicabs, roadsters and undertakers' vehicles. In most 
cases the chassis, enginehood and fenders are finished 
in black, dark blue or green, because it is so very im- 
practical to have these parts in white. The body from 
the engine hood back, the wheel spokes and wood rims 
are the parts finished white usually. 

Obviously, to produce a pure white finish requires 
exceptional care to keep all coats clean, not only to 
avoid dust, but even finger marks on the undercoats. 
Aside from the necessity for absolute and exceptional 
cleanliness the finish is but little more difficult than 
color work. 

Whether the car is new or an old one to be re- 
finished, follow the painting schedules given in Chap- 
ters V, VII and VIII up to the point where the surface 
is ready for the coat of Japan color with turpentine. 
The lead ground coats should be pure white. The car 
is finished with two or more coats of first class white 
enamel. *'Vitralite," the product of Pratt & Lambert, 
varnish makers, Chicago, is the enamel for this pur- 
pose with which the writer is most familiar. The 
qualities necessary in such an enamel are durability, 
hard drying, the ability to flow out level and to with- 
stand rubbing with pumice and water. The cheap 
house enamels are not satisfactory, none but the best 
will do. 



AUTOMOBILE PAINTING 93 

The first enamel coat may be thinned a little with 
turpentine, and if three coats are to be put on, the 
second coat also had best be reduced a little the same 
way. The last coat should be applied as it comes in 
the can. 

Each coat should be rubbed lightly with powdered 
pumice and water, just enough to remove dirt nibs 
and the high gloss, as per Operation 9. When a dull 
finish is wanted rub the last coat with fine pumice 
stone powder, first on a felt pad with olive or sweet 
oil very lightly and uniformly, then polish with rotten 
stone and oil on a piece of plush cloth. Clean up with 
benzine. 

The enamel is to be handled like varnish as con- 
cerns the brushing. Lay on a full, flowing coat using^ 
a soft varnish brush. Do not attempt to stretch or 
spread out to cover considerable surface. After coat- 
ing in a surface but a foot or two square, lay it off 
smoothly with light strokes of the brush once in each 
direction ; that is, lay off lengthwise of the car once and 
then up and down, after which the enamel must be let 
alone so it may flow together and level up. Watch the 
material carefully. If it runs, sags and folds over it- 
self, too much has been put on. Wipe out your brush 
and pick up the sags immediately before the material 
sets. 

Allow at least 48 hours to dry; a longer time for 
each coat would improve the finish by making it more 
durable. Do not try to rub an enamel coat sooner 
than 48 hours after applying. 

Over two coats of enamel a finishing coat of pale 
auto varnish may be substituted for the third enamel 
coat, if preferred. A little of the enamel should be 
added to the varnish to offset its amber color. 

Just before the car goes into service after drying, 
wash with cold water. Wash again after a week or so 
on the road, and the surface will look better than when 
it came out of the shop. There is usually a small 
amount of lint and fine fibres adhering to new varnish 
and these become washed and worn off by the wind. 



CHAPTER VII. 
A Quick Job^ — New Cars. 

For various reasons quick and inexpensive jobs are 
in demand, even though it is quite generally known 
that they are not good for as long service on the road 
as jobs resulting from the slower surfacing and dry- 
ing operations. Apparently the quick jobs are ser- 
viceable enough for some purposes, so probably we 
shall always have the demand for them. Read Chap- 
ter XIII about flowing on paint and varnish as a quick 
method. 

As has been stated before in this book, the saving 
in time and expense which produces the quick job 
ought to be made by eliminating some of the coats 
and surfacing operations (which saves labor cost) 
rather than by using cheap material. There are jobs 
where cheap materials may be justified, but not many, 
considering that often it costs more in labor to apply 
them than for first class goods. The cost of materials 
for finishing the average car is small indeed as com- 
pared to the labor cost, and for that reason if the ma- 
terials were cheapened by fifty per cent but two to 
four dollars at the most would be saved. 

The use of quick drying rubbing varnish and finish- 
ing varnish, made especially for quick jobs by all var- 
nish manufacturers, is quite necessary to effecting a 
saving in time. They dry more quickly and harder 
than the regular varnishes ; they are not so elastic, 
which means not so durable. It is important to se- 
cure good quality in these varnishes. 

A drying room heated to and maintained at a 
steady temperature of 85° to 95°, and with good ven- 
tilation, for all coats will save about one day of the 
required time for finishing. The schedules of oper- 
ations to follow are based on the use of such a drying 
room. 



AUTOMOBILE PAINTING 95 

A quick job can be accomplished with greater 
speed with such medium dark colors as the drabs, 
grays, browns and greens than with light tints.. Dark 
colors cover and hide the surface better than light 
tints, although the latter do not show surface defects 
as prominently as dark colors and they stand road ser- 
vice better. 

But little time can be saved on the operations which 
are included in the painting schedule to foll@w given 
as necessary even on quick jobs. The rubbing will 
require even more care and time on quick jobs than 
for others to produce a good surface and avoid rub- 
bing through to the bare metal, because the same 
thickness of surface does not lie under the coats being 
rubbed, as when plenty of lead and roughstuif coats 
have been placed upon a surface. 

All coats except those specified for late afternoon 
application should be applied as early in the morning 
as possible to gain the balance of the day for drying. 

SCHEDULE OF OPERATIONS. 
Eight Days — Seven Coats^A Quick Job. 

Section 18. 

BODY. 

Operation 

Clean the Surface 11 

Sandpaper No. 1^ to Roughen Up 2 '^ 1st Day- 
Priming Coat 3 J 

Hard Putty and Glaze Putty 4 and 12 2nd Day- 
Sandpaper No 51 

Dust Off 6 ^ 3rd Day 

1 Coat Roughstuff Filler 7 J 

] 3rd Day 

1 Coat Lead Ground 10 ^ Late 

J Afternoon 

Rub with Powdered Pumice and Water 91 

Wash 6 [4th Day 

1 Coat Japan Color — with Turpentine 13 J 



■96 A.UTOMOBILE PAINTING 

Rub — Horse Hair 1 1 1 4th Day 

Dust Off 6 [ Late 

1 Coat Rub. Varnish — with color 15 J Afternoon 

Rub — with Powdered Pumice and Water.... 915th 

Wash 6 [Day 

1 Coat Body Quick Drying Varnish 17 j Late 

Wash 6 7 8th 

Polish, ready for service 18 j Day 

HOOD AND FENDERS. 

Clean the Surface 1 "j 

Sandpaper, No. 1^, to Roughen Up 2 j- 1st Day 

Priming Coat 3 J 

Sandpaper No. 51 2nd Day 

Wash 6 [ Af ter- 

1 Coat Japan Color — with Turpentine 13 J noon 

Rub with Horse Hair Ill 

Dust Off 6 [ 3rd Day 

1 Coat Japan Color — with Finishing Varnish. 19 J 

Rub — with Powdered Pumice and Water... 91 4th Day 

Wash 6 [ After- 

1 Coat Chassis Finishing Varnish 20 J noon 

Wash 6 7 7th 

Polish, ready for service 18 j Day 

THE FRAME, SPRINGS AND AXLES. 

Operation 

Clean the Surface o 1 ) 1st 

Priming Coat 3 j Day 

Glazing Putty 12 2nd Day 

Sandpaper No. 5 ) 3rd 

Wash 6 j Day 

If to be Finished in Black: 

1 Coat Ivory or Carriage Black 21 3rd Day 

Rub — with Horse Hair 11] 

Dust Off 6 j- 4th Day 

1 Coat Black Japan 22 J 

Rub — with Powdered Pumice 91 

Wash 6 I 6th Day 

1 Coat Chassis Finishing Varnish 20 j 

Wash 6 J 9th 

Polish, ready for service 18 J Day 



AUTOMOBILE PAINTING 97 

If to be Finished in Color'. 
1 Coat Japan Color 13 3rd Day 

Rub — with Horse Hair 11] 

Wash 6 Uth Day 

1 Coat Japan Color — with Finishing Varnish. 19 J 

Rub — with Powdered Pumice and Water... 915th 

Wash 6 [ Day 

1 Coat Chassis Finishing Varnish 20 J Late 

Wash 6 j 9th 

Polish, ready for Service 18 j Day 

THE WHEELS. 

Clean the Surface 11 

Sandpaper 5 Mst Day 

First Coat Lead Ground, white or tinted 10 J 

Rub— with Horse Hair Ill 

Dust Off 6 ^ 2nd Day 

Second Coat Lead Ground, White or Tinted. 10 J 

Sandpaper No. 51 

Dust Off 6 1 3rd Day 

1 Coat Japan Color — with Turpentine 13 J 

Rub — with Horse Hair Ill 

Dust Off 6 Uth Day 

1 Coat Japan Color — with Finishing Varnish. 19 J 

Rub — with Powdered Pumice 91 5th 

Wash ^ 6 [ Day 

1 Coat Chassis Finishing Varnish 20 J Late 

Wash 6 7 8th 

Polish, ready for Service 18 j Day 

THE QUICKEST JOB. 

Seven Days — Five Coats. 
Section 19. 

The schedules just listed produce a job v^hich can 
be turned out of the shop ready for the road in eight 
days, with seven coats, a saving of eleven days over 
the full complete schedule of Section 6, and of four 
coats of material, w^ith the consequent saving of labor 
required by surfacing operations. 

The schedules w^hich follow are given as the mini- 



98 AUTOMOBILE PAINTING 

mum number of operations and coats to turn out the 
quickest job possible with a good appearing surface 
and without the factory baking process. Except in 
the hands of experts, schedules with fewer coats and 
operations are not likely to give a satisfactory finished 
job. 

THE BODY. 

Operation 

Clean the Surface 11 

Sandpaper No. l^^ to Roughen Up 2 ^ 1st Day 

Priming Coat 3 J 

Hard Putty and Glaze Putty 4-12 2nd Day 

Sandpaper No. 5 "1 

Dust Off 6 [ 3rd Day 

1 Coat lead ground 10 J 

Rub — Powdered Pumice and Water 91 

Wash 6 Uth Day 

1 Coat Japan Color — with Turpentine 13 J 

Rub — with Horse Hair Ill 

Dust Off 6 [ 5th Day 

1 Coat Body Quick Drying Varnish 17 J 

Wash 6 7 7th 

Polish, ready for Service 18 J Day 

HOOD AND FENDERS. 

Operation 

Clean the Surface 11 

Sandpaper No. 1^ to Roughen Up 2 ^ 1st Day 

Priming Coat 3 J 

Sandpaper No. 51 

Wash 64 2nd Day 

1 Coat Japan Color — with Turpentine 13 J 

Rub — with Horse Hair Ill 

Dust Off 6 prd Day 

1 Coat Chassis Finishing Varnish 20 J 

Wash ., 6 I 6th 

Polish, ready for service 18 J Day 

THE FRAME, SPRINGS AND AXLES. 

Operation 

Clean the surface H 1 st 

Priming Coat 3 | Day 



AUTOMOBILE PAINTING 99 

Sandpaper No. 5 ) 2nd 

Wash 6jDay 

If to be Finished in Black: 

1 Coat Ivory or Carriage Black 21 2nd Day 

Rub — with Horse Hair 11' 

Wash 6 I 3rd 

1 Coat Black Japan 22 [ Day 

Or 1 coat Chassis Finishing Varnish 20, 

Wash 6 I 6th 

Polish, ready for service 18 j Day 

If to be Finished in Color: 

1 Coat Japan Color — with Turpentine 13 2nd Day 

Rub — with Horse Hair Ill 

Wash 6 [ 3rd Day 

1 Coat Chassis Finishing Varnish 20 J 

Wash 6 I 6th 

Polish, ready for service 18 j Day 

THE WHEELS. 

Operation 

Clean the Surface 11 

Sandpaper No. 1 5 [ 1st Day 

First Coat Lead Ground, white or tinted... 10 J 

Sandpaper No. 51 

Dust Off 6 [ 2nd Day 

Second Coat Lead Ground, white or tinted.. 10 J 

Sandpaper No. 51 

Wash 6 !► 3rd Day 

1 Coat Japan Color — with turpentine 13 J 

Rub — with Horse Hair Ill 

Wash 6 Uth Day 

1 Coat Chassis Finishing Varnish 20 J 

Wash 6 7 7th 

Polish, ready for service 18 J Day 



CHAPTER VIII. 

Refinishing Old Cars — A First Class Job. 
A Quick Job. 

Before attempting to understand this chapter read 
carefully Chapter V about painting new cars. Read 
Chapter XIII about flowing on paint and varnish, a 
quick method — also Chapter XIV. 

When it comes to the repainting of an automobile 
which has been in service some time there are as many- 
ways to do "the job as there are to finish a new car. 
There is, in fact, practically no difference between 
painting a new car from the metal up and repainting 
an old one after the surface of the latter has been 
properly prepared, except the elimination of some of 
the first surfacing coats and operations from the sched- 
ule, when the old paint and varnish still maintain a 
firm anchorage on the metal. 

The determining factors when deciding upon the 
extent of repainting operations necessary are the time 
that can be given to the work, the expense and the 
condition of the old surface. The latter should carry 
the greatest weight when a durable finish is expected, 
although the element of time is also an important 
factor. 

The first consideration is to place the car to be 
refinished in a suitable room, where the necessary con- 
ditions outlined in Chapter XI — about the paint shop — 
may be met. Then remove all attachments and equip- 
ment and place the car so it is handy to work at as per 
Chapter XI also. 



AUTOMOBILE PAINTING 101 

OPERATION 27. 
Removing Mud and Grease. 

Assuming that the room in which the painting is 
to be done is right and that the body is properly 
stripped of loose parts and mounted in a workable po- 
sition the next move is to wash and take off every 
atom of mud and grease. 

A thorough water wash and scrubbing is first in 
order to take off the mud from the underparts as well 
as the body. 

With the surface as clean as it can be made by 
this method let it dry and then go over it wherever 
any grease or hard dirt accumulations are to be seen 
with a mixture of about three parts of turpentine and 
one part kerosene. Use an old paint brush to soak 
the dirt with this liquid. Give it a little time to soak 
in before scraping it off. If the body should have any 
hard grease spots extra care must be taken when 
scraping them off to avoid gouging the painted sur- 
face off with the grease. A little rub with a rag hav- 
ing some pumice stone powder on it, and wet with 
the turpentine-kerosene mixture, will cut away hard 
grease. The same care should be exercised on the 
chassis. A putty knife is the tool mostly used for 
scraping. 

Whenever the mud and grease accumulations are 
so hard on the axles, springs and such underparts 
that the turpentine-kerosene mixture will not soften 
and remove them^ make a fairly strong wash by adding 
a little washing soda (sal soda) to some hot water. 
Swab this on to the hard spots and let stand a few 
minutes. A very thorough washing with clean, warm 
water must then be given to remove every trace of the 
soda, or it will soften up the old paint and shorten the 
life of the new. 

With the surface as clean as it should now be, 
make a careful inspection of defects, cracks, scales, 
bare spots, etc., to decide how lar into the varnish, 
the color coats or filler coats the defects extend. A 
magnifying glass would assist the inspection. 



102 AUTOMOBILE PAINTING 

OPERATION 28. 
Removing the Old Paint. 

It becomes necessary to remove all of the old var- 
nish and paint coats only when the surface shows 
cracks all over generally and which penetrate through 
all coats to the bare metal, or when the old paint 
shows a tendency to let go of the surface and scale 
off. 

All of the old paint may be removed by using a 
liquid paint and varnish remover or by burning with 
a gasoline blow torch. 

If the paint and varnish remover is used follow the 
directions given on the can. Use an old brush to apply 
it and a putty knife to scrape off the old material. 
Brush the liquid on, let stand a few minutes and then 
scrape off. When all paint has been taken ofif, wash 
up the surface well with turpentine and it is ready to 
patch up holes, dents, etc., before beginning the re- 
painting. 

To remove the paint and varnish with a blow torch, 
such as is used by plumbers and for heating soldering 
irons, the torch must first be warmed up so as to give 
a steady, moderate flame. Hold the torch about three 
inches away from the surface and at an angle of about 
forty-five degrees, just near enough to scorch and blis- 
ter the paint so it will raise up off of the surface and 
can be scraped off with a putty knife. Run the flame 
along a strip of surface about one foot long and three 
or four inches wide slowly two or three times. When 
it has become heated pretty well follow the flame im- 
mediately with a wide putty knife. Hold the torch 
in the left hand and the putty knife in the right. 

Keep far enough away from leather upholstery to 
avoid scorching it. When burning the surface near 
it hold a piece of tin between the flame and leather. 

Do not heat any one place on the surface more 
than is necessary, because there may be under the 
paint dents or holes filled with solder which will melt. 

From, the viewpoint of cost old paint and varnish 



AUTOMOBILE PAINTING 103 

may be more cheaply removed with the blow torch 
than with liquid paint and varnish remover. 

There are some surfaces so hard and tough that 
many applications of liquid remover would be required 
to take it all off. Obviously, burning with a torch is 
the best method of removing such paint. 

For removing varnish coats only when the color 
and surfacing coats are good and are to be painted 
over, undoubtedly the liquid remover is best. 

A solution of caustic soda dissolved in water to 
which unslaked lime is added will remove paint and 
varnish coats. Likewise a solution made of sal soda 
(washing soda) dissolved in hot water and chloride 
of lime in water will remove the old paint and var- 
nish. The application of 16'' ammonia to varnish will 
remove it. 

Except for factory or paint shop use these chemi- 
cals are hardly to be considered. The ammonia is a 
disagreeable material to handle, because of the pene- 
trating odor. The other chemicals listed must be 
handled with rubber gloves and an old brush or swab, 
as they burn the skin and are also poisonous. The 
concentrated caustic soda, especially, must be handled 
with great care. In the shop these solutions are val- 
uable indeed. Large tubs or vats are filled with such 
liquid removers, they are large enough to contain two 
or three fenders and many small parts like tire irons, 
hub plates, springs, etc., which are immersed in the 
liquid and allowed to stand a few hours, when all paint 
and varnish is completely taken off down to the bare 
metal without any labor expense whatever. All parts 
treated in this manner are to be thoroughly washed 
with clear water before refinishing. If any of the 
liquid remover were left on the parts it would dissolve 
the new paint as it did the old. 

OPERATION 29. 
Filling Holes and Cracks, Etc., Dents. 

Cars which have been in service often have dents 
in the body which ought to be pushed out before re- 



104 AUTOMOBILE PAINTING 

painting. After removing enough of the upholstery 
to get at the inside of the dent, hammer it out with a 
rounded off wood or lead mallet. When an ordinary 
hammer is used place a rounded off. block of wood 
next to the metal before hitting it with the hammer. 
Holes and cracks ought to to be thoroughly scraped 
and cleaned out, polished bright with emery paper and 
then filled with solder. File the solder off level with 
the surface and smooth up. It is much better than 
putty. On refinishing jobs, all cavities of any size 
filled with hard putty first and then glaze putty ought 
to receive one or two coats of lead tinted to match the 
old paint and thinned with turpentine and a little lin- 
seed oil. 

OPERATION 30. 

Taking Off Wax Coatings. 

Many of the automobile polishes used by car own- 
ers are made with a wax base. After such a prepara- 
tion has been used a while quite a deposit of wax is 
laid on the body surface and it must be taken off. 

Both paraffine and bees wax are soluble in turpen- 
tine. Soak a rag with turpentine which has been made 
quite warm by placing the turpentine can in hot water 
and rub it over the surface two or three times at inter- 
vals of about two minutes. Follow this immediately 
with a good rub with a dry cloth to remove the wax 
softened by the turpentine. When you think the wax 
has all been taken off, scrape the surface lightly with 
a knife and if any wax remains it will curl up on the 
knife. Fine steel wool soaked in turpentine may be 
used also to rub the wax off, when the car is to be 
given new color and varnish coats, but not on a 
touch-up and varnish job. The steel wool would 
scratch the surface too much for anything short of a 
color coat or color varnish coat to cover up. 

Follow with a good wash with turpentine. If this 
doesn't remove the wax wipe off with alcohol on a 
cloth and finish with a rub with pumice powder and 
water. 



AUTOMOBILE PAINTING lOS 

OPERATION 31. 
Touching Up Bare Spots. 

Most cars to be repainted have a bare spot here or 
there where the paint has worn off or has been scraped 
off by accident. 

The most important detail in touching up such 
spots is to make certain every atom of rust has been, 
removed before any new paint goes on. Even a small, 
amount of rust is enough to throw off paint coats put: 
over it not long after the painting has been completed. 
A piece of emery cloth is the best tool to remove rust.. 
Sandpaper will do. 

When the rust has been taken off and the metaL 
scoured bright, finish up with a piece of No. 1^ or 
No. 2 sandpaper to scratch the metal a little so it will 
offer an anchorage to the paint. A highly polished 
metal surface is a difficult one to make paint adhere 
to. 

Mix a little white lead or red lead with about one- 
fourth raw linseed oil to three-fourths turpentine and 
a few drops of japan drier or coach japan. Add a bit 
of the correct tinting color ground in japan, to bring 
this lead coat to match the old paint., 

Brush on about three coats of this lead, sandpaper- 
ing each coat lightly with worn paper No. 0. On touch 
up and varnish jobs which are not to receive a coat of 
color, rub the last lead coat on bare spots with pumice 
powder and water, instead of sandpaper, which may 
scratch the adjoining surface. Then the spots are 
ready for whatever color, color varnish or surfacing 
coats which are to be placed on the balance of the 
surface. 

In the case of a body which is not to receive a coat 
of japan color, but simply a coat each of color varnish 
and finishing varnish, the tinting of these lead coats 
to match the old finish is a more particular job. Of 
course, when the old color is quite dark — a blue, green 
or red, it is not possible to match it with lead. Put 
on two coats of the lead tinted fairly dark with a little 
of the right japan color or black and then for the third 



106 AUTOMOBILE PAINTING 

coat use the japan color to match with turpentine as 
the thinner. When the spots being touched are not 
bare, but just scraped or scratched, best results will 
come from coating them with japan color in finishing 
varnish once or twice, omitting the lead ground and 
color and turpentine coats. 

If you cannot get a japan color to match, it will 
be necessary to mix two or more of them together to 
get the correct shade. Should you get a blue that is 
a trifle too light add a touch of coach black, after thin- 
ning both a little with turpentine. If the blue is too 
dark, mix with it a touch of zinc or lead, preferably 
the former with blues. When a yellow has a greenish 
cast add a bit of red to warm it up. With other colors 
look at them carefully spread out and you can see 
what other color is needed to bring them to the cor- 
rect tone. 

Bare places along moulding or panel edges often 
have a few scales of paint loose about the edges. 
Sandpaper these off, cut down the rough edges and 
brighten the metal. Touch up with lead primer, and 
when dry fill up the cavity with glazing putty. When 
dry sandpaper down and coat with a lead ground coat 
tinted to match the old finish, or with japan color. 

OLD PAINT TO BE REMOVED. 
Section 20. 

See Chapters IV and XI about getting the car 
ready to paint, the paint shop, drying conditions, etc. 

Wash off mud and remove grease as per Operation 
27, 

Assuming that the old surface has cracked through 
varnish, color and filler coats and is in a generally bad 
condition, it is better to remove all of the old material 
than to paint over it. Especially is this true when the 
old finish has shown a general tendency to scale off 
in several places. See Operation 28 about removing 
old paint and varnish. 

Fill dents and cracks with solder as per Operation 
29. 



AUTOMOBILE PAINTING 107 

Refinish the surface when finally cleared of the old 
material and repaired as per the schedules given in 
Chapter V for a first class job, or Chapter VII for a 
quick job. 

OLD PAINT NOT TO BE REMOVED. 

Nine Coatsi — Seventeen Days. 

A First Class Jab. 

Section 21. 

When it is desired that a car be repainted without 
taking of¥ all of the old material to the metal, the 
chances of getting a durable job are good as long as 
the old paint and varnish coats have a firm hold on 
the metal. The varnish may have worn off pretty 
well and even the color coats, or there may be fairly 
deep cracks through varnish and color coats, but not 
through all surface material to the bare metal, with- 
out diminishing the possibility of producing a good 
job over the old finish as long as the priming and sur- 
facing coats have a firm hold. But when the old paint 
and varnish coats show a general tendency to crack 
and scale off right down to the bare surface, no amount 
of repainting operations will result in a durable job 
without first removing the old finish completely and 
beginning over again from the bare metal to repaint 
the car as a new one. 

Auto bodies finished with baked-on enamel rarely 
show cracks. Such abrasions as are to be noticed on 
them as they come to be refinished, are the result of 
accidents — scratches. Refinishing of cars in that con- 
dition requires no such elaborate treatment as is pro- 
vided by the first schedule to follow. The second 
schedule is about right. 

Assuming that in spite of the wornout appearance 
of the old finish the priming and surfacing coats are 
pretty good, that the color and varnish coats have 
cracked to some extent, the repainting operations nec- 
essary are about as below : 



108 AUTOMOBILE PAINTING 

BODY. 

Operation 

Wash off Mud and Grease 27 " 

Sandpaper, No. Ij^ 2 

Wash 6 Mst Day- 
Touch Up Bare Spots 31 

Pill Holes and Cracks, etc.. Dents 29 

Dust Off 6 7 2nd 

First Coat Roughstuff, Filler 7 ] Day- 
Second Coat Roughstuff Filler 7) 3rd 

Stain Guide Coat : 8 j Day 

Rub— with Artificial Brick 9 ) 4th 

Wash 6] Day 

Dust Off 6 7 5th 

1 Coat Lead Ground 10 j Day 

Glaze Putty Cracks and Rough Places 12 6th Day 

Rub — with Powdered Pumice and Water 91 

Wash 6 [ 7th Day 

1 Coat Japan Color — with Turpentine 13 J 

Hub — with Horse Hair Ill 

Dust Off 6 V 8th Day 

1 Coat Japan Color — with Varnish 14 j 

Rub — with Horse Hair Ill 

Dust Off 6 !• 9th Day 

1 Coat Rubbing Varnish — with Color 15 J 

Rub — with Powdered Pumice 91 

Wash 6\ 11th Day 

1 Coat Rubbing Varnish — Clear 16 J 

Rub — with Powdered Pumice 9] 

Wash 6 V 13th Day 

Initials or Monograms ChapterIX J 

Dust Off 6 7 14th 

1 Coat Body Varnish 17j Day 

Wash 6 7 1 7th 

Polish, ready for service 18 j Day 

On a surface showing but little cracking and check- 
ing eliminate one coat of roughstuff. 

For a quick job eliminate Operations 14, 16, one 
coat of roughstuff and their rubbing and washing op- 
erations. 



AUTOMOBILE PAINTING 109 

THE HOOD AND FENDERS. 

Operation 

Wash Off Mud and Grease 27 ^ 

Sandpaper, No. Ij^ 2 

Wash 6 ■ 1st Day- 
Touch Up Bare Spots 31 

Fill Holes and Cracks, etc., Dents 29 

Dust Off 6 1 2nd 

1 Coat Roughstuff Filler 7 j Day 

Rub — with Horse Hair Ill 

Dust Off 6 [ 3rd Day 

1 Coat Lead Ground 10 J 

Rub — with Powdered Pumice 9 ] 

Wash 6 [ 4th Day 

1 Coat Japan Color — -with Turpentine 13 J 

Rub — with Horse Hair Ill 

Dust Off 6 ^ 5th Day 

1 Coat Japan Color — with Finishing Varnish. 19 J 

Rub — with Powdered Pumice 91 

Wash 6 [ 6th Day 

1 Coat Finishing Varnish 20 J 

Wash 6 I 9th 

Polish, ready for service 18 j Day 

For a quick job eliminate Operations 10, 19 and 
their washing and rubbing operations. 

FRAME, SPRINGS AND AXLES. 

Operation 

Wash Off Mud and Grease 271 

Sandpaper, No. or 1^ 2 1st 

Wash 6'> and 

Touch Up Bare Spots 31 2nd Days 

Fill Holes and Cracks, etc 29 _ 

If to be Finished Black: 
1 Coat Ivory or Coach Black 21 2nd Day 

Rub— with Horse Hair Ill 

Dust Off 6 [3rd Day 

1 Coat Black Japan 22 J 

Rub — Powdered Pumice and Water 91 

Wash 6 [ 5th Day 

1 Coat Chassis Finishing Varnish 20 J 



110 AUTOMOBILE PAINTING 

Wash 6 7 8th 

Polish, ready for service 18 j Day 

If to be Finished in Color: 

1 Coat Lead Ground 10 2nd Day 

Rub — with No. Sandpaper 21 

Dust Off 6 1 3rd Day 

1 Coat Japan Color — with Turpentine 13 J 

Rub — with Horse Hair Ill 

Dust Off 6 Uth Day 

1 Coat Japan Color — with Finishing Varnish. 19 J 

Rub — with Horse Hair Ill 

Wash 6 [ 5th Day 

1 Coat Rubbing Varnish — with Color 15 J 

Rub— 'With Powdered Pumice and Water.... 9] 

Wash 6 V 7th Day 

1 Coat Finishing Varnish 20 J 

Wash 6 7 10th 

Polish, ready for service 18 j Day 

For a quick job eliminate Operations 22 or 19 and 
their rubbing and washing operations. 

THE WHEELS. 

Operation 

Wash Off Mud and Grease 27 | 

Sandpaper, No. or l'^^ 2 1 1st 

Dust Off 6\ Day 

1 Coat Lead Ground, White or Tinted 10 J 

Putty 4 2nd Day 

Second Coat Lead Ground, White or Tinted. 10 3rd Day 

Sandpaper, No. 51 

Wash 6 Uth Day 

1 Coat Japan Color — with Turpentine 13 J 

Rub — with Horse Hair Ill 

Dust Off 6 I- 5th Day 

1 Coat Japan Color — with Finishing Varnish, 19 J 

Rub — with Horse Hair 11 ] 

Wash 6 pth Day 

1 Coat 'Rubbing Varnish — Clear 16 J 



AUTOMOBILE PAINTING lU 

Rub — with Powdered Pumice 91 

Wash 6 [ 8th Day 

1 Coat Finishing Varnish 20 J 

Wash 6 1 1 1th 

Polish, ready for service 18 j Day 

See Operation 24 about white enamel finish. 
For a quick job eliminate Operations 19 and 16, 
and their rubbing and washing operations. 

DASH BOARDS, ETC. 

Wash Of¥ Mud and Grease 21 

Sandpaper, No. 5 

Wash 6 

Stain, if necessary 26 

Sandpaper No. 5 

Wash 6 

Varnish with Cabinet, Polishing or Furniture 
Varnish. 

OLD PAINT NOT TO BE REMOVED. 

Thirteen Days — Five Coats. 

A Quick Job. 

Section 22. 

When it comes to repainting the car, the finish 
upon which is in good condition, except that the var- 
nish coats have perished, leaving the color and sur- 
face coats without cracks, the operations necessary to 
produce a good job are few. The old surface may 
have a few bare spots, but it must have a firm hold on 
the metal surface with no tendency to scale off. It 
may be desired that the new color be the same as or 
different than the old. 

THE BODY. 

Operation 

Wash Off Mud and Grease 27 ] 

Rub with Powdered Pumice 2 and 9 1 1st 

Wash 6 I Day 

Touch Up Bare Spots 31 

Fill Holes and Cracks, Dents 4 and 29 2nd Day 

Wash 6 I 3rd 

1 Coat Japan Color, with Turoentine 13 j Day 



112 AUTOMOBILE PAINTING 

Rub with Horse Hair 11] 

Wash 6 Uth Day 

1 Coat Japan Color, with Varnish 14 J 

Rub with Horse Hair 11 1 

Wash 6 I 5th Day 

1 Coat Rubbing Varnish, with Color 15 J 

Rub with Powdered Pumice 9 ] 

Wash 6 [ 7th Day 

1 Coat -Rubbing Varnish, Clear 16 J 

Rub with Powdered Pumice 9 ] 

Wash 6^ 9th Day 

Initials or Monograms Chapter IX J 

1 Coat Body Varnish 17 10th Day 

Wash ., 6 1 13th 

Polish, ready for service 18 ) Day 

For a quick job eliminate Operations 14, 16 and 
their rubbing and washing operations. 



THE HOOD AND FENDERS. 

Operation 

Wash Off Mud and Grease 271 

Rub with Powdered Pumice 2 and 9 I 1st 

Wash 6 j Day 

Touch Up Bare Spots 3lJ 

Fill Holes and Cracks, Dents 29 2nd Day 

1 Coat Japan Color, with Turpentine 13 3rd Day 

Rub with Horse Hair 11] 

Wash 6 Uth Day 

1 Coat Japan Color, with Finishing Varnish.. 19 J 

Rub with Powdered Pumice 91 

Wash :••••.•: 6 V 5th Day 

1 Coat Chassis Finishing Varnish 20 J 

Wash 6 7 8th 

Polish, ready for Service 18 J Day 

For a quick job eliminate Operations 19 and its 
rubbing and washing operations. 



AUTOMOBILE PAINTING 113 

FRAME, SPRINGS AND AXLES. 

Operation 

Wash Off Mud and Grease 27 " 

Rub with Powdered Pumice 2 and 9 

Wash 61-151 Day 

Touch Up Bare Spots 31 

Fill Holes and Cracks, etc 29 

If to be Finished in Black 

1 Coat Ivory or Drop Black 21 2nd Day 

Rub with Horse Hair Ill 

Wash 6 ^ 3rd Day 

1 Coat Black Japan.... 22 J 

Rub with Powdered Pumice 91 

Wash 6 ^ 5th Day 

1 Coat Chassis Finishing Varnish 20 J 

Wash 6 7 8th 

Polish, ready for service 18 J Day 

If to be Finished in Color 
1 Coat Japan Color, with Turpentine 13 2nd Day 

Rub with Horse Hair Ill 

Wash 6 [ 3rd Day 

1 Coat Japan Color, with Finishing Varnish.. 19 J 

Rub with Horse Hair Ill 

Wash 6 [ 4th Day 

1 Coat Rubbing Varnish, with Color IS J 

R"^ with Powdered Pumice 91 

Wash 6^ 6th Day 

1 Coat Finishing Varnish 20 J 

Wash 6 7 9th 

Polish, ready for service 18 j Day 

For a quick job eliminate Operations 22 or 19, and 
the washing and rubbing operations. 

THE WHEELS. 

Operation 

Wash Off Mud and Grease 27 1 

Rub with Powdered Pumice 2 and 9 [ 1st 

Wash 6 f Day 

1 Coat Japan Color, with Turpentine 13 J 



114 AUTOMOBILE PAINTING 

Rub with Horse Hair 11] 

Wash 6 [ 2nd Day 

1 Coat Japan Color, with Finishing Varnish.. 19] 

Rub with Horse Hair Ill 

Wash 6 [ 3rd Day 

1 Coat Rubbing Varnish, Clear 16} 

Rub with Powdered Pumice 91 

Wash 6 [ 5th Day 

1 Coat Finishing Varnish 20 J 

Wash 6 } 8th 

Polish, ready for service 18 j Day 

See Operation 24 about white enamel finish. 

For a quick job eliminate Operations 19, 16 and 
their rubbing and washing operations. 

RENEWING AUTO TOPS. 
Section 23. 

About all that is needed to freshen up leather, imi- 
tation leather and rubber tops is a good wash with 
soft water warmed just enough to take the chill off. 
Add only a very little castile soap. 

Mohair and other cloth tops need only a good 
l)rushing to remove the dust. Any other treatment is 
likely to injure them. 

When any top, or upholstery either, shows con- 
siderable wear and a thorough cleaning does not 
brighten it sufficiently, the use of a good renewing 
preparation improves appearances greatly. There are 
many good leather and top dressing solutions offered 
by auto supply houses. They ought not to be used as 
long as the top and upholstery are in fair shape. 

BRASS VARNISH AND LACQUER. 
Section 24. 
The car of today is ornamented with very little 
polished brass as compared with cars of a few years 
back. What little brass cars do display must be kept 
in a bright condition without polishing every day or 
so by coating it with one of the prepared lacquers 
made for the purpose, or with varnish. 



AUTOMOBILE PAINTING 115 

The varnish treatment is usually most convenient. 
Finishing, or chassis finishing varnish is the proper 
material. Thin it with turpenitne to about the con- 
sistency of milk and coat the brass parts with it after 
they have been brought to a high polish. Use a soft 
camel hair brush for laying on the varnish, preferably 
an old one. One very thin coat is enough to keep the 
air away from the metal. Then it will remain bright. 



CHAPTER IX. 

Initials and Monograms. 

Initials or monograms are desirable today as here- 
tofore from the viewpoint of decoration, and they are 
urgently needed as a quick means of identifying one's 
car. Wherever crowds gather — at races, fairs, foot- 
ball games and in public parking places many cars of 
the same make and model are to be found, and unless 
one has some unusual piece of equipment — tire irons, 
tool boxes or such on the car it becomes impossible 
to pick out the right car at a glance. It is known that 
few men remember license numbers. 

Colors. As decorations initials or monograms add 
a much needed touch of bright color to many overly 
sombre and monotonous color schemes. The letters 
cover such small areas that the brightest of harmoniz- 
ing colors are best suited for their application, as they 
warm up and cheer up the whole appearance of the 
car, giving style, smartness and individuality when 
well done. Furthermore, initials and monograms di- 
vert attention from any minor surface defects. 

Gold, copper, silver and aluminum colors in the 
metal leaf, bronze powder, bronze liquid and paint 
mixed to match these metals are suitable for initials 
and monograms on most any body color. Bronze pow- 
ders may be purchased in many colors. 

For medium to dark blue, red, green and brown 
body colors initial letters in cream, ivory, silver, alu- 
minum are suitable. 

Light body colors such as cream, light grays, drabs, 
tans and greens look exceedingly well lettered with 
a very deep, dark shade of green, red or some other 
dark harmonizing color. 

The most certain way to gain color harmony is to 
letter a light colored body with a dark shade of the 



AUTOMOBILE PAINTING 117 

same color. Likewise, letter a dark body color with 
a light tint of the body color. 

Location. The location of initials permits of some 
choice. Usually one set of letters for each side of the 
car is enough, and they are most commonly placed on 
the upper portion of the rear doors. The center side 
panel between the front and rear doors, upper part, is 
an equally desirable location. The upper portion of 
the engine hood, either in the center or on the forward 
end, is a favorable location not so commonly used. 
Roadster bodies offer less choice of location. The side 
of the seats, the doors and the engine hood seem to 
'be the most desirable places, although gasoline and 
oil tanks of the track type of roadster are utilized. See 
Figure 10. 

Size of Letters. The size of the letters or mono- 
grams will vary from one to two inches high, with 
the different panel or door areas in which they are 
located. Cut out a rectangular piece of paper one and 
one-half by three inches, paste it onto the panel where 
the initials are to be placed and then step away ten or 
twelve feet to see if the proportions between the paper 
and panel area, or body as a whole, look right. 
Roughly sketch the initials on the paper with pen or 
pencil and you can decide more easily whether the 
letters would look better larger or smaller. 

Designs. Initials may be and often are placed on 
top of the finishing varnish, but then they are never 
so durable, or quite so nice in appearance, as when 
placed on top of the last coat of rubbing varnish and 
under the finishing varnish which protects them. 

As to securing the designs for initials and placing 
them on the car surface, let it be said that there are 
many methods. 

Undoubtedly the best way to have one's initials or 
monograms placed on a car is to turn the job over to 
a competent sign painter. This is not always con- 
venient or even possible, however, and so the methods 
to follow are given. With them it is not difficult to 
do a neat and nice appearing job, although an ex- 



118 AUTOMOBILE PAINTING 

tremely complicated or fancy monogram may not be 
possible. 

The first detail is to secure the design for the mon- 
ogram or the letter shapes. If you are not sufficiently 
handy with a pencil to draw the initial letters on a 
piece of strong, smooth ledger paper or letter paper, 
from which to make a stencil, probably you will have 
no difficulty in finding a friend who is. Thin, strong 
paper is better than thick. 

Another simple way to secure the letter designs is 
to look around for printed letters of the right size and 
character. Magazines — the Saturday Evening Post, 
newspapers, calendars and children's primary books 
of¥er plenty of opportunity to locate suitable letters. 
The printers' catalogues of type faces will give you 
practically any style or size of letter wanted. Letters 
which are a little decorative, fancy letters, are much 
to be preferred to severely plain block letters. 

Making a Stencil. Having found the letters wanted, 
place the piece of heavy ledger or letter paper under 
the printed letters. Slip a piece of carbon paper be- 
tween the two sheets and trace the letters on to the 
clean paper from which a stencil is to be cut. Of 
course, you will not find the two or three initials 
wanted placed side by side, so you will have to trace 
them off one at a time. Trace the first one on to the 
center of the clean sheet. Then before the second let- 
ter is traced rule a light pencil line across the clean 
sheet of paper, one at the top of the letter just traced 
on and the other at the bottom of the letter, as in Fig- 
ure 11. Proceed then to trace the next letter or two 
so they will locate between the two pencil lines on 
the stencil sheet and the correct distance from each 
other. 

When all letters have been traced pull the stencil 
sheet out and with a sharp pencil and a rule mark 
over the carbon lines to square them up and make a 
sharp outline to follow with the knife. The rule can 
be used only on the straight lines, so the curved and 
circular lines must be carefully marked over free hand. 





FIGURE II 



FIGURE 12 




FIGURE 13 



^ 










FIGUR£ ^ 



120 AUTOMOBILE PAINTING 

A quicker way to outline these letters on the paper 
is to borrow from some brass merchant or window 
trimmer a set of the brass stencils which they use for 
making window and price tags. Draw the letter out- 
lines on the paper with a pencil. Factory shipping 
•departments usually have machines which cut paper 
stencils quickly. 

With the letters clearly marked on the stencil sheet 
proceed to mark ties where needed to keep parts of 
the letter from curling up after cutting them. Do not 
make the ties too heavy, not wider than one-eighth 
inch. For instance, the center portions of such letters 
as "D," "O," 'T," etc., would drop out unless ties were 
used to hold them in place. See Figure 12. 

The letters traced on paper are now ready to be 
cut into a stencil. Coat the paper both sides with thin 
shellac, or parafifine wax thinned with a little turpen- 
tine. Shave a little of the wax into a tin cup, pour 
a little turpentine over it and place the cup in hot 
water. When the wax has been dissolved brush a 
coat of it on to the paper, or use a cloth dipped in the 
wax to apply it. Either wax or shellac will cause the 
paper to cut more easily. Place the paper on a piece 
of window glass (after the wax is hard or the shellac 
dry) and with the sharp point of a pocket knife cut 
through the paper, following the pencil outline of the 
letters, except where ties were marked off, — lift the 
knife when it comes to the ties, skip over the tie marks 
and continue on the other side. If the knife is sharp 
it will cut a clear, sharp edged stencil. 

Put Stencil in Place. With the stencil of the ini- 
tials or monograms all cut and ready the next point 
is to decide on where to locate it. Then take a piece of 
cheese cloth about six inches square, lay it flat on the 
bench and place three or four tablespoonfuls of dry 
whiting in the center. Pick up the corners of the cloth, 
twist them together to form a bag and tie a string 
around the neck. With this pounce bag pat the sur- 
face of the car where the initials are to be located so 
as to cover it with the fine whiting. The whiting is a 



AUTOMOBILE PAINTING . 121 

safeguard to prevent gold leaf, when used instead of 
bronze powder, from sticking to the varnish if the 
least bit tacky. Water will wash off the whiting when 
the job has been finished. 

Now place a small spot or two of mucilage on the 
back of the stencil paper and place the stencil on the 
spot selected and covered with whiting, taking care 
to see that it is straight and in the exact center of the 
panel from side to side. Better use a rule to measure 
and mark off with chalk a center line up and down as 
well as two horizontal lines between which the stencil 
is to be placed. 

Fill in Stencils with Bronze. The colors and ma- 
terials to be used are next to be considered. There are 
several ways to fill in and transfer the letters after 
the stencil is in place. 

The most simple way is to transfer the letters by 
'filling in the stencil with a liquid gold, copper or alu- 
minum bronze, or a mixture of them which can read- 
ily be purchased at any art or paint store. Bronze 
powder mixed with bronzing liquid will serve the pur- 
pose, but not quite so well unless very finely ground. 
Rubbing varnish thinned with turpentine to the con- 
sistency of linseed oil can be used in place of the 
bronzing liquid. 

With bronze in a tin cup dip a small stencil brush, 
or a flat one-inch paint brush, into it and scrape out 
the bronze on the side of the cup. Repeat several 
times until the brush is thoroughly worked into the 
mixture. Then spread a little of the bronze on a board 
to see if it covers well. If it does not, add a little more 
bronze powder. Dip the brush into the mixture again, 
wipe it out on the cup and then on the board until it 
is quite dry and it is ready to work on the stencil. 
When the brush contains too much bronze or paint 
and when the paint is too thin, it will run under the 
stencil, making a ragged, smeary letter. 

Hold the stencil down with the thumb and fingers 
of the left hand. It must lay flat and tight against the 
car surface. Take the brush with right hand and pound 
the cut out stencil letters with it straight up and down. 



122 AUTOMOBILE PAINTING 

Do not try to spread the paint as on any other surface 
by rubbing the brush back and forth over the letters. 
Use the brush like a hammer — pound straight up and 
down until the letters are completely transferred to 
the surface. 

Hold the stencil tight against the surface still with 
the left hand and lay down the brush. Take hold of 
the lower corner of the stencil with the right hand 
fingers, holding tight with the left all the time, and 
peel off the stencil, being careful all the time to avoid 
moving the paper sideways until it is clear of the 
newly transferred letters. 

The letters ought to appear sharp and clean, with- 
out ragged edges, if this operation is well done. They 
will show breaks or bare spots, to be sure, where the 
ties were placed when cutting the stencil. These ties 
may now be carefully filled in with the liquid bronze 
before the first applied bronze becomes dry. For this 
purpose the soft camel hair or badger brushes used 
for water color painting by artists are just right. Get 
one with a good point and of medium size. If the let- 
ters are well covered and sharp brush the bronze only 
over the ties, but if not evenly covered the coat ought 
to be spread all over the letters completely. For use 
in touching up these ties and filling in the letters a 
handy tool is a round stick about a foot long and 
half an inch or sg -it. diameter. Wrap a piece of cloth 
around one end so it will not scratch the car surface. 
Holding it off the surface with left hand, rest the 
right hand on it. You have probably noticed sign 
painters use such a stick while lettering on glass. Fig- 
ure 13 illustrates the position. 

Wipe off the mucilage spots with a wet cloth be- 
fore they get dry. 

After several hours drying thv2 letters may be left 
as they are, when put on before the last varnish coat. 
When placed on top of the last varnish coat of a new 
or old car it will wear pretty well without further at- 
tention, but a coat of clear rubbing varnish, brushed 
^n to the letters only with the small water color brush, 



AUTOMOBILE PAINTING 123 

will keep the bronze bright for a longer period and 
protect it from scratches. Contact with the air is 
what causes bronze powder, gold leaf and such metals 
to tarnish. Varnish keeps the air away. 

Fill in Stencil with Metal Leaf. A much better 
appearing job may be produced by filling in the sten- 
cil letters with metal leaf in real gold, imitation gold, 
silver or aluminum leaf. With gold leaf the grade 
known as Hastings XX is correct. It comes in very 
thin sheets of the metal placed between sheets of pa- 
per about three inches square. What is called Hast- 
ings' Patent or Transfer Gold may also be used. Gold 
leaf can now be purchased which is made fast to a 
sheet of paper, instead of being loose betwen two 
sheets of paper. It is the more easily handled as ex- 
plained a little later. Silver Leaf is cheaper and is 
handled in exactly the same way as gold. Aluminum 
Leaf is still cheaper and can be handled more easily, 
because it is a little thicker and tougher. Imitaiton 
Gold Leaf sells at about the same price as silver leaf 
and is satisfactory for some jobs. It will tarnish 
sooner than real gold leaf. Prices on these metals fluc- 
tuate considerably. A paint jobbers' catalog at this 
writing lists them as below : 

Hastings' Extra Deep Gold Leaf per book $0.42 

Hastings' Patent or Transfer Gold Leaf " " .42 

Aluminum Leaf " " .30 

Silver Leaf " " .30 

Imitation Gold Leaf " " .30 

Japan Gold Size for Metal Leaf per ^ pint .25 

So small an amount of leaf is needed that you may 
get it from some sign painter most conveniently. 

The stencil is put in place as described before and 
the whiting which shows through the letters is wiped 
off the surface. Then the letters are filled in with 
Japan Gold Size, a liquid made for use with metal leaf. 

The stencil brush used with the bronze powder 
may be used in the same way to put on the gold size. 
Then lift the stencil as before and fill in the ties with 
gold size, using the small soft water color brush. If 



124 AUTOMOBILE PAINTING 

need be, coat the letters entirely with size again, but 
be very careful not to get even a touch of the size on 
the surface anywhere except on the letters or the gold 
leaf will stick to the surface where you don't want it. 
The whiting was placed on the surface before the 
stencil to guard against this. Let the size stand 
until it gets quite sticky. This will require the time 
mentioned on the size can or bottle, — it may be a 24 
or 48 hour gilding size. 

When the size is sticky enough to hold the leaf in 
place the job may proceed. If ordinary metal leaf has 
been secured it is in loose sheets between pieces of 
paper in a .book. Fold back the paper sheet over the 
first metal sheet and lay the book flat near by. Run 
the thumb nail across the metal leaf to crease it and 
cut off one-half or one-quarter of the sheet, — just 
enough to a little more than cover one letter. Take 
up a one or two inch camel hair soft brush, rub it on 
the head to gather static electricity from the hair, then 
wipe the brush across the piece of metal leaf and you 
can pick it up on the brush tip. Carry the leaf to the 
surface and lay on the first letter. Smooth it out with 
the brush tip, taking care not to let the brush touch 
any of the size and get sticky. Gold, Silver, Aluminum 
and Imitation Gold Leaf are all handled the same way. 
The leaf cannot be moved very much but by patting it 
with a small wad of cotton, the wrinkles can be re- 
moved and the leaf spread to completely cover the 
edges of the letter. The leaf should be a little larger 
than the letter all around, an eighth of an inch or 
more. If the whole letter can be covered with one 
piece of metal it is best, but two or more pieces may 
be joined up and lapped a little to cover a letter. 
Never mind if the edges of the leaf are very ragged, 
but be sure the entire surface is covered. When the 
leaf has been made to cover the whole letter use the 
cotton wad to smooth out the metal perfectly. 

With all of the letters covered with leaf allow 
twelve hours or more for drying. Then a rub with 
the cotton wad will remove the loose leaf around the 



AUTOMOBILE PAINTING 125 

letters where no size was placed and the letters will 
stand out well covered and clear cut. By rubbing the 
metal well with the cotton wad it will be polished 
nicely. Wash off with cold water and dry the surface. 
It is then ready to be varnished over. When the 
letters are placed on top of the last varnish coat they 
alone ought to be given a coat of rubbing or finishing 
varnish as a protection from the air which will tarnish 
them and from scratches. 

An easier way to handle the gold leaf is to buy the 
kind which instead of being in flat sheets loose be- 
tween two pieces of paper is pasted on to one sheet of 
paper. The paper and leaf attached are cut into pieces 
of about the right size to cover a letter or monogram 
and when the gold size is sticky enough the piece of 
paper with the gold on it is laid on the size (leaf side 
on to the size), the paper is smoothed out with the 
cotton wad and after several hours when the size has 
set, the paper is removed, leaving the gold leaf on the 
letters. The leaf remaining on the paper, if any, may 
be used again to touch up thin places or uncovered 
corners on letters. After removing the paper the leaf 
left on the letters should be burnished by rubbing it 
with the cotton wad. This will also remove any rag- 
ged edges of leaf. This kind of leaf like the other 
ought to be protected by a coat of varnish. 

A variation of the method given for transferring 
the stencil letters to the surface with size on a stencil 
brush would be to put the stencil in place as before 
described. Wipe out the whiting which shows through 
the letters. Then sharpen a piece of ordinary white 
chalk and draw through the stencil the outlines of 
the letters on the surface. Remove the stencil and 
brush the gold size on to the letters between the chalk 
lines only, of course, as before. Use a medium size 
artist's water color brush. This means a little more 
free hand work, but it really requires more care than 
skill. 

Fill in Stencil with Paint. The use of japan colors 
thinned with turpentine and enough rubbing varnish 



126 AUTOMOBILE PAINTING 

to dry with a gloss is a simple and effective way to 
transfer the stencil letters or monogram to the car 
surface. Beat up the japan color selected with turpen- 
tine until it is very well mixed. Add the rubbing var- 
nish, thoroughly mixing it in. Lay the color on to the 
surface through a stencil with a small stencil brush 
or a one inch paint brush just as was described for 
the application of the liquid bronze. Remove the 
stencil as described and coat in the letters with the 
color on a medium size camel hair water color brush 
to cover up the ties. If needed, lay the color over the 
entire surface of the letters to get an even, smooth 
appearance. If the color drags under the brush and 
gets sticky before it has been smoothed out, too much 
varnish has been used; add a little turpentine to the 
mixture. A small piece of glass is handy to use as 
a palette. Dip the brush into the color, carry it to 
the glass and then work the brush out smooth and 
even in the color on the glass before carrying it to the 
letter. 

If the letters have not been placed upon the rub- 
bing varnish coat so they will be protected by the 
last coat of. body varnish a coat of rubbing Varnish 
ought to be brushed on to the letters only when dry. 

Glazing Colors. After placing the letters on a car 
as just described with bronze, gold, silver or metal leaf 
or japan colors a very rich effect can be gained by 
brushing over the letters with a very thin, transparent 
color mixture which will allow the gold or other color 
to show through. 

Handle the stencil and lettering exactly as de- 
scribed before, but do not put on the coat of varnish 
over the finished letters. Instead, take a little rubbing 
varnish, thin it with turpentine until about as thin as 
linseed oil. Add a very little of the japan color select- 
ed, mix thoroughly and spread it on to the letters in 
a thin coat with a soft camel hair water color brush. 
Better test this glazing medium on some other surface 
than the car at first to see if it has enough color in it 
to be noticed. If too thick or too much color has been 



AUTOMOBILE PAINTING 127 

put in, the gold or other color of the letters will be 
covered too solidly to show through. The color of 
the letters should show most prominently with the 
glazing color as a thin transparent sheen on top. A 
little experimenting will enable you to mix this glaz- 
ing color just right. 

One way to treat gold, silver, cream, ivory or other 
light colored letters is to place over the first initial 
letter a glaze of ultramarine blue or cobalt blue. Over 
the second letter place a glaze of verdigris green and 
over the third letter a glaze of vermillion, carmine or 
other red. 

In like manner many different combinations of 
japan colors may be used as glazes. They are mixed 
so thin, that placed over gold, silver, ivory and such 
light grounds, they show up as light, transparent tints 
rather than like the deep colors they are in the can. 
And so practically all such very light tints harmonize 
'with each other. 

It is suggested that a practice job of transferring 
and filling in the initials be carried through on a piece 
of tin or other metal before trying it on the car. Also 
that the stencil be stored away where it can be found 
in good condition for use again in renewing the letters 
on the same car or placing them on a new one. 

Initial Transfers. Another way to place mono- 
grams and initials on a car is to do it with what are 
called decalcomania transfer signs such as are used 
for placing advertising signs on to windows of hard- 
ware stores, etc. Transfer signs are manufactured 
by The Meyercord Co., 133 W. Washington St., Chi- 
cago. They can be purchased from those who carry 
auto supplies and sign painters' materials. These 
betters come on sheets of paper face down. When 
soaked with water the letter comes off of the paper. 

In order to attach such letters, mark out with chalk 
a square in the correct location on the surface within 
which to place them. If there are three letters, for in- 
stance, mark out a rectangle with vertical lines divid- 



128 AUTOMOBILE PAINTING 

ing it into three equal sections. Place one letter in 
the center of each section. 

The transfer letters come pasted face down on thin 
paper. Take an artist's water color brush and care- 
fully coat over the back of the letter only, not the paper 
side, with japan gold size, rubbing varnish or special 
transfer varnish. See that none of the varnish is put 
'on to the paper or it will also adhere to the surface. 
Let the varnish come fully to the edge of the letter, 
Jiowever. 

If japan gold size is used to fasten the letters, it 
fehould be permitted to stand about ten minutes to set 
and get sticky before putting the transfer letter in 
place on the panel. When varnish is used, more time 
is needed for setting. 

Put the letter on as soon as the varnish is sticky 
enough to be sure it will stay put ; then smooth it out 
carefully with a wad of cotton and the fingers, making 
sure there ^re no wrinkles, that the letter is straight 
up and down and in the right place. 

After putting all the letters on, let them stand two 
hours or longer if need be, to make certain the varnish 
has set. Then begin to soak the paper upon which 
the transfer letter comes with water, using a soft 
sponge and plenty of water. Give the water plenty of 
time to soak through the paper and loosen up the paste 
which holds the letter to the paper. After the paper 
is wet enough begin at one corner to pull it ofif. Use 
great care and go easy. When the paper has come 
off as far as the edge of the letter, look under it. If 
the paper is separating from the letter continue puUing 
easily, but if the letter shows a tendency to leave the 
surface with the paper, smooth it down again and 
wait a few minutes. Then wet the paper again and 
try to remove it. It is a good idea to buy more letters 
than are needed so you will not run short if you should 
spoil a letter or two in transferring. 

After a transferred letter has been on about twelve 
hours a thin coat of rubbing varnish on top will protect 
it. Of course, if placed under the last coat of varnish 



AUTOMOBILE PAINTING 129 

on a new or repainted car it has sufficient protection 
without the rubbing varnish. 

Monograms. In place of one, two or three initial 
letters a well designed monogram adds even a greater 
touch of quality to the appearance of a car. If you 
are not handy enough to figure out and sketch a mono- 
gram using the initials wanted there are many girls 
who have made a study of arts and crafts lettering 
in school, who can readily do it for you. 

No rule can be given for designing of monograms 
except that the surname ought always to be brought 
out most prominently, either by making it larger 
than the other letters or by filling it in with a strong- 
er, darker color. Many monograms are made by 
reversing one or more of the letters and in other ways 
which cause them to be exceedingly difficult or im- 
possible to read. A better way is to keep the letters 
faced in the right direction and in such order as can 
be read, perhaps not at a glance, but after a second 
look at least. When finished the design should have 
a pleasing general appearance, it ought to have quite 
some merit as a decorative ornament. What has 
been said about colors and materials for transferring 
initial letters applies fully to monograms. Mono- 
grams are to be drawn on or traced on the stencil 
paper described. The stencil is to be cut and handled 
in all respects as for single letters. In size and loca- 
tion they are subject also to the remarks about letters. 

In Figure 14, will be found some initial letter 
styles and monograms of good design. They should 
give you an idea or two that will enable you to make 
others. 



CHAPTER X. 
A Touch-Up and Varnish Job. 

The jobs which come under this classification are 
such as are in good shape generally with firm, un- 
broken color and surfacing coats. The varnish has 
become dull and needs renewing so the color coats 
will be protected. 

See Section 5, about The Mixing of Colors. 

The first thing to do with the car is to remove 
all loose cushions, rugs and mats inside. While wash- 
ing the outside and under parts wash out the inside 
just as thoroughly. Then place the car where it is 
to be varnished and remove the wheels, tire irons, 
lamps and any other equipment which can readily 
be taken off if it is in the way. The car ought to be 
placed on strong horses or jacks, of course, before 
removing the wheels. 

The top, if mohair or other cloth fabric, ought to 
be thoroughly brushed and wiped off with a damp 
cloth. If leather or imitation leather, a wash with 
warm water and a little castile soap is in order, and 
a light application of a top dressing made for that 
purpose improves the appearance. 

Lamps, tire irons and such other attachments as 
have been painted are usually renewed sufficiently 
with a coat of japan color thinned with a little tur- 
pentine and enough of the varnish to give a good 
lustre. 

Touching up bare spots is a particular job. Not 
so much so when the whole surface is to be given 
lead, roughstuff or color coats and rubbed, as when 
none but varnish-color and clear varnish coats are to 
be placed over the touched up places. 

The mixing of new color for the bare spots to 
match the old color on the surface which has faded 
more or less requires careful and painstaking effort. 



AUTOMOBILE PAINTING 131 

See Operations 31 and 5. 

The new color must have just as much gloss as, 
but no more than, the old because any color gives 
quite a different effect when thinned entirely with tur- 
pentine, to dry flat without gloss, than when thinned 
with mostly varnish for a high gloss. Use just 
enough turpentine and enough rubbing varnish to- 
gether as the thinner for the color to give the same 
degree of gloss or lustre as the old varnish has before 
being rubbed with pumice and water. If the old 
varnish has no gloss at all, spread a brushful of new 
varnish on the surface to bring out the color. Mix 
your touch up color to match the newly varnished 
spot in color and gloss, then wipe off the varnish 
with turpentine on a cloth before it becomes dry. 

Mix your touch up color on a piece of glass five 
or six inches square and spread it thin on the bare 
spots with an ox hair, or badger one inch brush for 
the larger places and a small camel hair artists' water 
color brush for the scratches and small places. 

Lay the color on as thin as possible, and yet have 
it cover pretty well, because thick color leaves rough 
edges. Brush it out smoothly, especially the edges, 
so they will not show where they join the old surface. 

Place the color only on the bare spots and 
scratches. Don't let it run over on to the old paint 
and by so doing, enlarge the touched up places. 

Do not attempt to touch up every little scratch 
or defect. The new varnish color will cover up such 
small places. Touch up only such places as will 
show quite prominently if left without color. 

Scratches and small defects require no lead coats 
to build them up, as are needed by larger bare spots. 
They simply require cleaning and one coat of japan 
color thinned with turpentine and enough varnish to 
give the same lustre as the old surface. 

When mixing color to touch up bare spots and 
damaged places, try it out for a match right on the 
surface to be matched. You will probably have to 
experiment a little with the color and change it two 



132 AUTOMOBILE PAINTING 

or three times before a perfect match is mixed. Spread 
a very little of the paint on to the old surface. Look 
at it carefully to see if too light or too dark, if it 
needs a little red, yellow or blue. Then wipe the 
fresh daub of color off the surface with a cloth damp- 
ened with turpentine. See Operation 31. 



SCHEDULE OF OPERATIONS 

The Body 

Operation 

Wash Off Mud and Grease 27 " 

Rub with Powdered Pumice 9 1 1st 

Fill Holes, Dents and Cracks 4 and 29 | Day- 
Touch Up Bare Spots 31 J 

Wash 6 ) 2nd 

1 Heavy Coat Body Varnish 17) Day 

Wash 6) 5th 

Polish, ready for service 18 j Day 

A little more elaborate job, and one which would 
prove more serviceable, would be accomplished this 
way: 

Operation 

Wash Off Mud and Grease 27 ^ 

Rub with Powdered Pumice 9 1 1st 

Fill Holes, Dents and Cracks 4 and 29 f Day 

Touch Up Bare Spots 3lJ 

Wash 6 I 2nd 

1 Coat Japan Color, with Turpentine 13 J Day 

Rub with Horse Hair 11] 

Dust Off 6 [ 3rd Day 

1 Coat Rubbing Varnish, with Color 15 J 

Rub with Powdered Pumice 9 ") 

Wash 6[5th Day 

Initials or Monograms Chapter IX J 

1 Heavy Coat Body Varnish 17 6th Day 

Wash 6 J 9th 

Polish, ready for service 18 J Day 



AUTOMOBILE PAINTING 133 

Still another method is to follow the last schedule 
but omitting the japan color coat, Operation 13, the 
Horse Hair Rub, Operation 11, and Dusting Off, 
Operation 6. 

The Hood and Fenders, Frame, Springs, and 
Axles and the Wheels would be given about the same 
number of operations as the body in each of the above 
schedules, substituting chassis finishing varnish for 
body varnish where needed. 



. - .50* 




AUTOMOBILE PAINT SHOP 



SCALE % IN. cooAt.s I FT 
FIGURE IS 



CHAPTER XI. 

The Automobile Paint Shop. 

For the successful painting of automobiles, 
carriages and wagons the three most important and 
necessary requirements are : The proper kind of 
materials and tools; the correct method and proced- 
ure; a fit and proper shop in which to do the work. 
The first two essentials have been covered in previous 
chapters. What is to follow concerning the paint 
shop is written chiefly for the consideration of the 
painter who will paint many cars and who, obviously, 
must get them through the shop in as short a time as 
possible and in rapid succession to make the business 
pay. The man who has but one car to paint will find 
in the discussion, the essential requirements of any 
room in which a car is painted so he may provide 
them as nearly as possible, even though they are of 
a temporary nature. 

Probably no class of decorating calls for the use 
of so many, so fine and so costly material and tools as 
vehicle painting. They are easily damaged beyond 
their usefulness by oversight, neglect and careless- 
ness. The fine surface itself, even, will not remain 
fine very long if not handled properly. With these 
facts in mind no further argument is necessary to 
show the importance of being orderly, systematic 
and careful about handling the car, the tools, the 
materials and in keeping the shop ship-shape and 
trim. By investigation, study and experiment find 
out the one best way to handle the cleaning, painting 
and varnishing in your shop. Provide the needed 
conveniences, make the proper arrangements of equip- 
ment and then you yourself reduce your habits to 
follow this worked-out system, this method of working 
and see to it that your men do likewise. The products 
of large factories would never be as fine, the quantity 



136 AUTOMOBILE PAINTING 

could never be as large nor the cost of production so 
low if this principle of finding "the one best way to 
work" was not strictly adhered to. This applies not 
only to the finishing of automobiles, but to most all 
profit paying factories, whether the product is shoes, 
canned corn, nails or machinery. If you work alone 
in your shop this matter of system and organization 
is necessary, and if one or more men work with you 
it is twice or three times as necessary. Good tools 
and equipment, and an orderly arrangement of them 
to save time, reduce your painting cost materially be- 
cause they reduce labor bills. A shop must be oper- 
ated in an orderly, systematic manner before the effi- 
ciency and low cost of production are realized. 

Few auto painting shops have been built for that 
purpose. They are not arranged as they should be 
for the most efficient handling of cars. How to make 
the best of what you have, or can get, is the most com- 
mon problem and each painter must solve that for 
himself. 

The shop arrangements shown in Figure 15, 
with the detailed description of them to follow, give 
the essential, necessary and desirable features of well 
arranged paint shops. A careful study of this will 
give you the foundation and ideas upon which to con- 
struct your shop. 

These plans are not presented as having been 
worked out in fine detail, but merely as general sug- 
gestions of arrangements which will promote efficiency. 

The heating of the shop is a detail deserving much 
careful attention. If a hot water steam system can be 
had the problem is solved as soon as presented. The 
only special detail is to arrange to have several radi- 
ators or a few large ones in the varnish room so that 
a steady temperature can be maintained at all times 
regardless of weather conditions. The time required 
to finish a car can be cut down a day or two when the 
varnish room temperature can be maintained at 85° 
to 95** F. Varnishes cannot be properly worked in 
temperatures below 70°, so that should be the lowest 



AUTOMOBILE PAINTING 137 

temperature for brushing and drying as well. 

Heating the shop by means of a hot air furnace 
can be made satisfactory by controlling the dust col- 
lected and discharged by the hot air openings into the 
rooms. To place cheese cloth over these openings 
would, no doubt, interfere with getting enough heat 
out of the pipes, but if a box frame about three feet 
square were covered with cheese cloth stretched tight 
and placed over the hot air opening it would collect the 
dust and the hot air could come out of the pipe, expand 
and sift through the cloth into the room. This cloth 
covered box would also prevent dust settling into the 
furnace hot air pipes from the room, only to be thrown 
out again. The box would have to be taken out of the 
shop occasionally and the dust accumulation removed 
from the inside of the cloth. 

To heat the shop with stoves is the most difficult 
and least desirable, and yet with special attention to 
avoid making dust it can be accomplished. Coal going 
in and ashes taken out must be wet down and every 
other precaution taken to raise no dust. Hard coal 
burning stoves are most desirable, because the most 
even temperature can be maintained with them with 
the least dust. Large stoves are best and a removable 
sheet iron housing, a small room, should be made dust 
tight, to completely cover the stove on all sides except 
one which opens into the varnish room. This one 
opening should lead through an iron pipe about two 
feet in diameter into a box frame inside the varnish 
room covered with cheese cloth tacked and stretched 
tight so that the hot air from the stove, but not the 
dust, may pass through. This dust catcher ought also 
to be detachable so it may be cleaned often. If the 
cloth becomes clogged with dust from the stove it will 
interfere with the proper heating of the varnish room. 
Openings in the iron stove housing must be left so a 
sufficient air current will reach the fire pot. Also a 
hinged door opening must be made to permit of feed- 
ing the stove, to get at dampers, etc. See Figure 17. 
A regular house hot air furnace would be first class 



138 AUTOMOBILE PAINTING 

used in this way after closing up all the outlet pipes 
except two or three leading to the varnish room. The 
heat which is thrown off from the sheet iron housing 
will probably be sufficient to keep the balance of the 
shop warm enough. If too warm, a coating of asbestos 
paper will cause more heat to go into the varnish room 
and less into the balance of the shop. 

The matter of keeping the varnish room free from 
dust, and also the balance of the shop, will require 
frequent scrubbing. Use a mop to clean floors, never 
a broom. Window sills, tops of casings and all ledges, 
projections and such must be wiped often with a wet 
cloth. The modern vacuum cleaners are excellent for 
keeping a shop dustless. The shop ought to be plas- 
tered or at least wall boards should be laid on to the 
studding and rafters. It is about impossible to keep 
down the dust when wall studs and rafters are un- 
covered and it is hardly possible to properly heat such 
places in winter. 

Keep the shop absolutely clean, allow no accumu- 
lations of rubbish or junk, nor anything else not need- 
ed to carry on the work of the shop. Then if your 
brushes, pails and sponges are clean, if the cars are 
made clean and the material coats are not allowed to 
go on until the surface or previous coats are really dry 
your varnish coats will not show grit, flat spots, sweat, 
bloom, tackiness and such imperfections as result from 
carelessness. 

Buying Paints and Varnishes in Small Shops. 
There is no reason to assume that the proprietor of 
the small paint shop cannot buy his paints, colors, 
and varnishes just as economically and with the same 
regard for efficiency as the proprietor of the larger 
establishment. 

The proprietor of the small shop should arrange 
to be forehanded enough to buy direct from the manu- 
facturer all paint and varnish supplies, oils, turpen- 
tine, driers, brushes and so on. By meeting his 
obligations promptly he will very soon establish a 



AUTOMOBILE PAINTING 138a 

credit that will enable him to obtain reliable materials, 
and will have a business standing in the trade worth 
while. 

For the small shop with its correspondingly 
smaller consumption the paints, colors, varnishes, etc., 
should be ordered to come in small containers. Espe- 
cially is this to be desired in respect to varnishes. One 
quart cans are about the correct size for the small 
shop, as contents will be maintained in a fresher and 
more workable state. Oils and turpentine are like- 
wise better stored in, say half-gallon cans. Rough- 
stufif, if bought ready prepared for use, should be 
handled in one-gallon cans. 

All such supplies procured in forms of this size- 
should be stored in clean shelf spaces and made to 
look presentable. Neat, clean storage of materials in 
small shops, when a regular stock room is not main- 
tained, makes a favorable impression upon customers. 
The paint bench, paint mill, mixing slab, etc., should 
be kept scrupulously neat and clean. A clean shop, 
however humble, is above reproach. A dirty one is a 
disgrace even unto the fourth generation. 

Scientists claim that without dust the air would be 
so utterly devoid of moisture that the human family 
would shrivel up and blow away in short order. It is 
self-evident, however, that these scientists did not 
have the interior of the carriage or automobile paint 
shop in mind when they set forth this dictum. It is 
stated that a room practically without dust is likewise 
practically without moisture. 

Today the painter as never before is prepared to 
eliminate dust from the shop. It need not be feared, 
however, that the dust will be so completely removed 
as to leave the place without the necessary amount of 
moisture to facilitate drying of paints and varnishes, 
and to make tolerable the existence of the painter. 

A shop entirely free from moisture would not prove 
an ideal place in which to dry paint or varnish, nor 
would the painter find it possible to work in an apart- 
ment in which some small degree of moisture does not. 



138b AUTOMOBILE PAINTING 

in fact, prevail, and, according to the scientists, where 
there is some moisture there is also some dust, but, as 
above stated, the painter is well equipped to combat 
the dust menace. 

The paint shop of former days, despite the most 
strenuous work of the painter, was a choice storage 
plant for dust and dirt. Daily cleaning processes were 
necessary, and even then it was only possible to hold, 
the accumulating dust in check. There is now no rea- 
sonable excuse to permit the dust nuisance to get the 
start of the working force, nor should it be allowed to 
do so. 

All worn pieces of sandpaper, oily cloths or waste 
and other combustible matter should be collected in 
metal containers as the work goes along during the 
day, and all this matter should at nightfall be taken 
from the shop, then in the morning the vacuum cleaner 
should be put to work, and the shop given a thorough 
cleaning throughout. 

Left over paint, color and roughstuff should be 
placed in clean pots and covered over with linseed oil 
to prevent skinning and an accumulation of dust. If 
allowed to stand many weeks the oil will get fatty 
and may make the paint untfit for use. Placed in press 
top cans or mason jars which are air tight the mate- 
rials keep indefinitely. Left over varnish should be 
strained through two thicknesses of cheese cloth back 
into the can. 

The correct ventilation of the shop, particularly the 
varnish room, is of no less importance than the heat- 
ing. All coats of materials dry faster and with more 
uniform color with plenty of light at hand. They are 
brushed on more evenly than in darker shops. Rapid 
drying of paint and varnish require a free circulation 
of air and a high temperature is of little use without 
air circulation. Just how to gain the air circulation 
without bringing in a lot of dust with it is the problem. 
The upper sash openings of windows offer the most 
convenient means of admitting an air current, but, of 
course, the openings must be covered with cheese cloth 



AUTOMOBILE PAINTING 139 

to keep out the dust. In case of strong winds and 
dust storms the openings must be closed and on cold 
days the size of the openings must be reduced. The 
need for regulating the openings is obvious. Varnish 
and color coats should never be subjected to drafts 
and strong air currents, if trouble is to be avoided. 
Probably the most convenient way to handle the ven- 
tilation is to remove the glass from the upper sash of 
two or more windows, cover the sash with cheese cloth 
and then fit two hinged doors to the inside of the same 
sash with buttons or hooks attached so either door 
or both can be closed or left open as need be to get 
enough but not too much air. It will be necessary to 
brush ofif the cloth over the sash every few days or 
they will become so clogged as to permit of no air 
circulation. When the windows are small and too 
few, it would be better to secure ventilation through 
other openings to avoid shutting off light. 

Providing a large amount of light, both sunlight 
and electric, contributes a great deal toward efficiency, 
the turning out of fast and fine work. An abundance 
of light on all sides of the car being washed, painted, 
rubbed or varnished is a requirement of first import- 
ance. A surface which may appear to be clean, per- 
fectly covered or evenly rubbed while in the shop will 
often show disappointing defects when viewed out in 
the open broad day light where all finishing is judged. 
A touch up and varnish job especially needs good light 
on all sides to avoid cutting into the old surface too 
far when rubbing, to make sure all bare and thin places 
are touched up and to know when the new color 
matches the old. Artificial lights are never as good 
as day light but electric lights on extension cords are 
a great convenience. The matching and mixing of 
colors by artificial light are not to be thought of as 
practical. 

A shop with an abundance of floor space is indeed 
desirable as it facilitates the handling of cars, but ex- 
cept when one can build a shop to suit the needs of the 
business, it is usually too small to be ideal. This fact 



140 AUTOMOBILE PAINTING 

emphasizes the importance of having a well organized, 
systematic and orderly method of handling the work 
through the shop. 

When carriages and wagons were the vehicles be- 
ing painted, not so much floor space was needed, be- 
cause they were taken apart quickly and put together 
again without much loss of time. The construction of 
the automobile makes it inadvisable usually to do 
more than take off the top, the lamps, tire irons, the 
wheels and such parts as can be removed very quickly. 
It is not often desirable to remove the body from the 
chassis because of the great weight, amount of electric 
wiring, the pipe lines and such features as really re- 
quire the services of a mechanic and the loss of much 
time. New bodies are most easily finished separate 
from the chassis and wheels. 

When the shop is to occupy a two story building, 
an elevator, an incline like a toboggan or a lifting 
arrangement using a block and tackle and a windlass 
is necessary. To locate the varnish room on the sec- 
ond floor is a preferred plan when the cars can be 
raised to that level. Then all of the cleaning, the 
refinishing of wheels and other small parts as well as 
the general work can be carried on downstairs without 
fear of raising dust to interfere with the varnishing. 

The water supply should be located convenient to 
the Washing Floor, The Color, Surfacing and Rubbing 
'Rooms. A sink for waste water and washing is quite 
necessary. Soft water is much to be preferred, as var- 
nished surfaces clean most readily with it. 

Window screens are very necessary. Flies will get 
into paint and varnish and spoil a job quickly. 

It is well to have all walls and ceilings painted 
white so any dust accumulations will readily be seen. 

The shop floor must be well supported to carry the 
weight of several machines. Concrete makes the best 
floor generally, although a little harder to stand on all 
day than wood. Whether cement or wood, the floor 
ought to be oiled to help keep down the dust. 

With wages as high as they are today, there is 



AUTOMOBILE PAINTING 141 

urgent need in every shop of just as much labor saving 
equipment and every device which will help to keep 
the number of names on the pay roll down to the 
minimum. Such modern devices also justify their use 
by the improved class of work they help to turn out. 

The paint mill, hand or power, No. 2, is a great 
time saving tool for thoroughly mixing roughstuff, 
putty, fillers and, in fact, all materials. It will hold 
one gallon and can be purchased for about eight or 
ten dollars — for the hand power type. Place it on 
the mixing bench. Figure 18 shows this machine. 

The color press shown in Figure 19, is a time and 
material saver requiring but a small investment, about 
$2.00. Ordinarily one pound cans and half pound 
tubes of colors are most advisable sizes to carry of 
odd colors not constantly used, but such colors as 
blues, greens, yellow, umbers, siennas, blacks, etc., are 
best bought in five pound press top cans. With the 
color press placed on the mixing bench and the color 
there too, it is handy to place the can containing the 
color wanted in the press, open the slide which covers 
the hole in the side of the can down near the bottom 
and give the wheel at the top of the press a little turn. 
When the wheel is turned the verticle bar presses 
down the loose, sliding top of the can and that forces 
out the color through the hole in the bottom. 

Rubbing Boxes made to contain rubbing materials 
are a great convenience. One or more such boxes 
should be on hand for use in the Washing and Rough 
Work Room, in the Color, Surfacing and Rubbing 
Rooms and in the Varnish Room. A box about six 
inches wide, twelve inches long and three inches deep 
divided into three compartments is about the right size 
to carry about. A leather strap tacked on to the box 
like a basket handle is desirable. One section of the 
box is to be used for felt rubbing pads, one for pow- 
dered pumice and one for pieces of artificial rubbing 
brick. 

A rubbing deck or bench covered with sheet, tin 
or zinc, and sloping one way, so the surplus water will 



AUTOMOBILE PAINTING 143 

drain into a trough, is a convenience when the class of 
work going through the shop requires the finishing and 
rubbing of many small parts which can be placed on 
such a bench while being rubbed. The bench should 
be near the sink in the rubbing room. 

Even when only a few cars are going through the 
shop there will be many wheels to be rubbed, sanded 
and painted. A wheel standard on the rubbing deck, 
one in the color room and one in the varnish room 
for use in laying on the various paint and color coats 
'will increase a man's efficiency by saving his back. 
Figure 20, shows one way to construct such a standard. 

Whenever all of the washing, painting and varnish- 
ing operations must be carried on in one large room, 
the problem of keeping dust out of the varnish can be 
solved by constructing in portable sections muslin 
covered frames to form sides and top of a room just 
large enough to completely surround and cover the 
car. See Figure 21. 

Make wood frames, like those put together for fly 
screens, using 2x2 inch wood or 1x3 inch stuff. The 
sides ought to be made in two sections each about 1:^7 
feet. The ends, make in two sections about 5x7 feet 
each. In one end or side hang a regular screen door 
on hinges and cover it with unbleached muslin. Place 
one or two cross members of wood in each of these side 
and end sections to make them hold their shape. Then 
stretch and tack unbleached muslin on each frame. 

Coat the muslin with orange shellac made thin with 
alcohol or spread a couple of coats of linseed oil on the 
muslin, one inside and one outside. The end and side 
sections may then be put together around a car about 
to be varnished. Lap the sections at the corners and 
screw together, or use screen door hooks and eyes. 
Where the sections join in the center of the side and 
end, screw a four or six inch flat board on over the 
crack so as to fasten both sides together. 

A top made of two sections same as the sides will 
be needed if there is quite a little dust about the place. 
The varnish will set better without the top but if there 



144 AUTOMOBILE PAINTING 

seems to be the slightest reason to expect dust use the 
top. One corner may be propped up with a pole to 
leave an opening for ventilation. This cloth room can 
readily be taken apart and moved from one car to an- 
other as needed for varnish coats and is especially 
useful when cars are being painted in a large garage 
or such building. 

Whenever many small parts such as lamps, tire 
irons, license numbers and holders and the like are 
removed from a car it is well to have a box or clothes 
basket painted and numbered into which every small 
part of that car is placed as it is removed. With a 
shelf to place all of the boxes or baskets from the 
various cars in the shop upon, and someone responsible 
for keeping them there, no parts should be lost nor 
one man's equipment placed on another man's car. 

A long brush keeper with compartments for several 
of each kind of brush used would be well worth the 
small amount the tinner would charge to make it up 
for you as per Figure 22. A separate keeper should 
te provided for the varnish room. 

Lockers for storing pails, pots, sponges, wash 
leathers and all such tools are money saving conven- 
iences and also very necessary in maintaining order 
and systematic operation. A place should be provided 
for everything and then see that every tool is put back 
where it belongs each night. Ten minutes spent at 
the end of each day in cleaning up helps greatly in the 
progress and quality of the work. Of course, no dust- 
ing or cleaning can be done at that hour because there 
will always be one or more cars which have been coat- 
ed in the last part of the day which would be injured 
by the dust stirred up. There is no reason why tools 
cannot be picked up and a general tidy-up effected. It 
has a good influence on the quality of the work. 

The floor pit, commonely used for mechanical re- 
pairs in garages, is thought by many to be very desir- 
able for getting under the car to clean and paint the 
chassis. There is an element of danger connected 




FtQURE 21 




FIQURE 33 



146 AUTOMOBILE PAINTING 

with its use, however; cars have been driven into 
them and other accidents occur. The pits are usually 
very dirty and difficult to keep clean. It is not always 
possible to have a pit in rented quarters. 

The bridge and truck arrangement illustrated by 
Figure 23, is one that can be used anywhere and easily 
constructed. The car is run upon this bridge, while 
its wheels are on, and with its own power or by use 
of the windlass crank and drum shown. The wood 
truck with large casters on it is run under the car. 
Then both the car and truck are pulled back so the 
car starts to back down the incline leading up to the 
bridge. When the car comes down the rear axle rests 
on the truck frame lifting the wheels clear of the in- 
cline track as you continue to pull both back. When 
the front of the car comes down far enough the front 
axle also rests on the truck frame and all four wheels 
are off the floor. The wheels may then be taken off 
and the car on the truck moved to the place in the shop 
allotted to it for cleaning, painting and varnishing. A 
thorough wash off of all mud should occur before the 
car is mounted on the truck. 

The truck raises the car high enough off the floor 
to permit a man to work on the under parts in a sitting 
posture. That is important, considering volume and 
quality of work accomplished. There is no more dis- 
agreeable work anywhere than lying on one's back or 
side under a car soaking up grease which runs out of 
the best of them and trying to do a creditable job. Half 
a day under a car is a full day's work. 

The roller casters to be used in making these trucks 
can be purchased readily through any heavy hardware 
firm. The frame of the truck had best be constructed 
of 3x3 inch oak, maple, birch or some such strong 
lumber bolted together. Any blacksmith can make 
the windlass. 

The practice of sprinkling the varnish room floor 
is likely to give trouble in the form of varnish bloom, 
pin holes and flat spots. The moisture is taken up by 



AUTOMOBILE PAINTING 147 

the air while warm and should the temperature drop 
a little at night, condensation occurs and the moisture 
settles on the varnish. The floor should be oiled and 
then the cleaning should be done with a mop early in 
the day. 

Unnecessary walking about the varnish room, the 
closing or opening of doors quickly and any move- 
ments which stir up dust should be avoided. 

As to the tool equipment for a small shop "The 
Vehicle Monthly" has presented the requirements be- 
low so well that the author can do no better than to 
reprint the specifications : 

The tool equipment for a small carriage or auto- 
;nobile paint shop may consist of the following: Three 
good square pointed half elastic putty knives, one 
beveled point putty knife, one round point, a couple of 
good palette knives, and one 2^ inch half elastic scrap- 
ing knife. Also half a dozen soft fleece wool sponges, 
prime quality, at least three good chamois skins or 
wash leathers, one-half dozen galvanized iron pails, 
three-gallon capacity. 

In brushes half a dozen oval chisel-pointed paint 
brushes, of medium size; half a dozen camel hair, 1^ 
and 1^ inches wide; at least three 2^ inch camel hair 
brushes, three badger hair varnish brushes, 1^^ inches 
in width; three oval chisel-pointed varnish brushes; 
two sets of flat, half elastic extra quality bristle 
brushes, each set consisting of four brushes running 
in size from one to three inches, one of these sets to be 
used exclusively for applying the finishing coat of 
varnish to carriage and automobile bodies. The sec- 
ond set to be used for applying rubbing varnish to such 
bodies. A couple of sash tools, chisel-pointed brushes 
will be needed for washing up work preparatory to 
varnishing. 

Of dusters there should be three good flat bristle 
dusters for body work, the same number of oval bristle 
dusters for both body and gear work, a couple of spoke 
brushes, together with a complete set of striping and 



148 AUTOMOBILE PAINTING 

lettering pencils, the striping pencils to consist of 
sword and dagger pencils made of camel hair in sizes 
to draw the various lines, running from a fine line to 
a full stripe. 

The lettering pencils to be of black sable, 1^-inch 
length, of hair set in metal and running in size from 
No. 1 to No. 8. 

About three flat bristle chisel-pointed varnish 
brushes will be needed for varnishing heavier wagon 
parts and miscellaneous work. 

The bristle paint brushes should be kept in water 
when not in use, being suspended by the handle from 
a wire in the water up to the ferrule of the brush. 
Camel hair brushes to be kept in either water or raw 
linseed oil, this depending upon whether the hair of 
the brush is set in glue or not. Varnish brushes to be 
kept, when not in use, in the brand of varnish which 
they are employed to apply. 

These brush containers should be air tight and 
dust-proof, and under lock and key. 

All dusters should be kept in a compartment, 
usually a drawer under the paint bench. Here, too, 
should be kept the sponges and chamois skins; putty 
and palette knives should also be kept in such a com- 
partment. Incidentally it may be best to keep these 
compartments also under lock and key. 

The small shop will also need a couple of good re- 
volving wheel jacks, two revolving gear trestles, one 
revolving body trestle, two pairs of strong wooden 
horses, for automobile work; a stout wagon jack, one 
pair of bolt clippers, one pair of shaft fasteners, half 
a dozen "S" wrenches, of various sizes, running from 
5^ inch to one inch ; one large and one small monkey 
wrench, two strong screw drivers, hammer, saw, brace 
and bits, cold chisels, one large, one small; two 
punches, and such other small utensils as the condition 
of the service will warrant. 

Also there should be a No. 2 paint grinding mill; 
one moderate size vacuum cleaner of an approved type, 
three galvanized iron containers for holding waste. 



AUTOMOBILE PAINTING 149 

sandpaper, oily and greasy rags, and other forms of 
shop refuse and dirt. One paint burning lamp of one 
gallon capacity, and half a dozen blocks of artificial 
pumice stone, medium fine. 



CHAPTER XII. 

Carriage and Wagon Painting. 

The painting and refinishing of these vehicles does 
not differ essentially from automobile painting except 
slight changes to allow for a wood surface rather than 
metal. After touching upon the points where the treat- 
ment of wood surfaces differs from that for metal there 
is no advantage in repeating the auto painting process 
so the schedule to follow will refer by number to the 
auto painting operations in Chapters V, VII and VIII 
which are equally suited to carriage and wagon paint- 
ing. 

Generally speaking, carriage and wagon painting 
today is not required to be up to the standard wanted 
twenty or thirty years ago. Prices paid for this class 
of work are lower than at that time and customers 
are satisfied with fewer coats and a cheaper job. A 
very fine class of work is still turned out on bakery, 
milk and other business wagons as well as upon 
hearses and undertakers' rigs but these are exceptional 
and the number of such jobs is a small part of the 
whole. 

The materials to be used for carriages and wagons 
may be identically the same as for automobiles or in 
place of auto varnishes the special carriage varnishes 
may be used. Other materials and the tools required 
are the same. 

FINISHING A NEW VEHICLK 

A First Class Job. 

Section 25. 

Sandpaper all parts with No. 1 paper, being parti- 
cular to smooth down all raised grain or other rough 
places. A little time spent in making such places 



AUTOMOBILE PAINTING 151 

smooth before painting will save much effort and exas- 
peration later over little points of wood fibre which 
may come through the paint body when rubbing to 
level and smooth up the paint coats. 

Cut down all very sharp edges of mouldings and 
corners, using No. sandpaper. You cannot keep 
paint on them because rubbing quickly cuts through 
such sharp corners. 

Clean all metal of rust and grease. 

Shellac screw heads and any knots or sappy places. 
Cut the shellac quite thin with alcohol. 

Remove all dust, grease and dirt by wiping with a 
cloth dampened with turpentine and a duster brush. 
Corners of mouldings and such crevices about irons 
as hold dust must especially be cleaned out thoroughly. 

Priming Coat. Make a very thin mixture of pure 
white lead-in-oil, using about one-half pure raw linseed 
oil and one-half turpentine. Add about a teaspoonful 
of coach japan to a quart of the mixture. Only enough 
lead is wanted to stain the mixture, it is not expected 
to cover well. It should penetrate deeply into the 
grain to establish a good foundation. 

Brush this coat on evenly using an oval varnish 
brush, or three inch flat color brush. Lay the coat off 
smoothly, brushing with the tip of the bristles the 
same way as the grain runs. Brush this coat well into 
all cracks and holes. 

Let dry at least 24 hours, a longer time would be 
better. 

Second Coat. Mix same as priming coat, but add 
a little more lead and enough lamp black or coach 
black to make a light gray shade. Try to fill all real 
small holes with paint, instead of putty later. The 
air at the bottom of them makes it difiicult to force 
putty deep enough to stay, the air forms a cushion. 
Vibration later forces the putty out. Fairly large 
holes do not offer this difficulty. Let dry 24 hours 
pr more. 

Putty. Mix and apply as per Operation 4. 

Sand paper. A light rub, just hard enough to cut 



152 AUTOMOBILE PAINTING 

off dirt nibs and wood fibres which may remain. Use 
No. paper. 

Dust Off. As per Operation 6. 

Roughstuff Filler. Apply from one to six coats 
according to how fine a job is to be turned out. Mix 
as per Operation 7. If the surface seems pretty dry 
and porous after the first coat, add a few drops only 
of linseed oil to the mixture. Sandpaper each coat 
very lightly with No. paper and dust off before 
brushing on the next coat. Let each coat dry 12 
hours. 

Stain Guide Coat. Mix as per Operation 8. 

Rub. With Artificial Rubbing Brick as per Opera- 
tion 9, wash up as per Operation 6. 

Lead Ground Coat. Tint to suit as per Operation 
10. Allow 12 hours to dry. Then rub with horse hair 
as per Operation 11. Dust off. 

Color Coat. Mix and apply as per Operation 13. 
Let dry 12 hours and rub lightly with horse hair and 
dust off. Then apply a second coat in the same man- 
ner. For a black finish mix the first coat from lamp 
black and turpentine, the second with coach black or 
ivory black and turpentine. 

Varnish Color. Mix as per Operation 15. For 
black jobs use in place of this rubbing varnish and 
color one or more coats of black japan. Allow 48 
hours or longer for drying. 

Rub. With powdered pumice and water as per 
Operation 9. Wash up, — Operation 6. 

Finishing Varnish. Apply as per Operation 17. 
Carriage varnish may be substituted for automobile 
varnish, but the latter is suitable. In the case of 
wheels and gears use chassis finishing varnish or car- 
riage gear varnish. 

Wash up and polish after three or four days and 
the vehicle is ready for service. 

Rub-Lead. As a means of producing a fine surface 
quickly on new work what is called the rub lead treat- 
ment is often used in place of the second lead coat. 
It is mixed this way : 



AUTOMOBILE PAINTING 153 

Dry White Lead, enough for a stiff paste. 

3 parts Raw Linseed Oil. 

1 part coach japan. 

A touch of black or umber. 

Grind through a paint mill set fine. Thin to stout 

brushing consistency with 3 parts raw linseed oil and 

1 part coach japan. 

Brush on this mixture, let stand a few minutes 
imtil it sets a trifle and then rub into the wood with 
the palm of the hand, better put a leather glove on. 
After a thorough rub all over let dry two or three days, 
then sandpaper with No. 00 paper. An exceptionally 
dense and fine surface results from this process and 
the roughstuff coats are not wholly necessary. Sub- 
stitute for them a coat of white lead thinned with tur- 
pentine only and brush on smoothly with a color brush. 
Rub with No. 00 paper, dust off and the surface is 
ready for the flat color coat, the varnish color and the 
finishing varnish. 

GEAR AND WHEELS. 
These parts should be given exactly the same sched- 
ule as has just been specified for the body but elimin- 
ate the priming coat and begin with the second coat. 
One coat of roughstuff is usually sufficient. 

QUICK JOBS. 

Time and expense can be saved by cutting down on 
the number of coats listed for a first class job. The 
job can be turned out with but one roughstuif coat and 
one color, using the same schedule otherwise as listed. 
Or, if need be, all roughstuff coats can be eliminated. 
It is not advisable to cut the schedule more than that, 
however. 

REFINISHING JOBS. 
Section 26. 

These are handled in all respects the same as the 
schedule just given for new work except that when 
the old finish is good the refinishing begins with the 
lead ground coat, the color coat or the varnish color 



154 AUTOMOBILE PAINTING 

coat according to the condition of the surface. See 
Chapter VIII concerning this. What is said there 
about automobile surfaces is relevant. Also the meth- 
ods of removing the old paint and varnish coats given 
there, is useful on wood surfaces as well. No strong 
alkali or caustic paint removers are permissible for 
use on wood, because once this material soaks into 
wood, it plays havoc with the new coats put over it. 
The patent liquid paint and varnish removers are 
usually safe if the surface is well washed with turpen- 
tine after removing the paint. 

WAGON PAINTING. 
Section 27. 

The finishing of wagons of the better class ought 
to be carried on after the specifications given for car- 
riages and automobiles. Some wagons get along 
nicely with a less elaborate treatment. 

Practically all wagons painted in the job shop 
have been painted before, at least once, in the factory 
where they were built. So the specifications below 
refer to repainting jobs. New jobs would be handled 
in the same way after smoothing down with No. 1 
sandpaper, the applying of a lead priming coat, putty- 
ing and the laying on of one to four coats of rough- 
^tufif as mentioned for carriage and automobile paint- 
ing. Read over Chapters V, VII and VIII about finish- 
ing and refinishing automobiles. The tools, materials 
and methods are the same. 

The first operation in refinishing a wagon is a 
thorough wash and clean-up as per Operations 1 and 6. 

Sandpaper the surface well, using No. 1 paper, then 
dust off. 

Putty all holes and touch up bare spots as per 
Operations 4 and 31. 

Apply one or two coats of white lead tinted some- 
thing like the finished color wanted, as per Opera- 
tion 10. 

If the surface is still quite rough and not level give 



AUTOMOBILE PAINTING 155 

it the knifing lead and putty glaze treatment as per 
Operation 12. 

Sandpaper carefully with No. paper and dust off. 

Apply one coat japan color and turpentine, Opera- 
tion 13. 

Rub lightly with horse hair, Operation 11. 

Brush on one coat of rubbing varnish with color. 
Operation 15. 

Rub with powdered pumice and water, Operation 9.. 

Wash up, Operation 6. 

Finish with one coat of heavy hard drying Coach 
varnish. 

TOUCH UP AND VARNISH JOBS. 

Section 28. 

The handling of this work does not bring a large 
enough price to justify spending quite a little time in 
mixing colors to match for the purpose of touching up 
damaged places and worn off spots. It is much better 
to coat in these places carefully with lead thinned with 
half turpentine and half raw linseed oil, adding a few 
drops of coach japan and a little color, after giving 
the whole surface a careful rub with No. sandpaper. 
Then mix up a coat of japan color to match as nearly 
as possible the color of the old paint and brush this 
onto the whole surface. See Operation 13. From this 
point on, handle the job with a coat of rubbing varnish 
with color and a coat of finishing varnish. 



CHAPTER XIII. 

Factory Painting Methods — Spraying, Flowing, Dip- 
ping and Baking. 

In this chapter an effort will not be made to give 
every detail of these processes. That would compli- 
cate matters and make hard reading, because there are 
no standard methods of finishing by these means. 
Every manufacturer has worked out a process which 
handles his work to satisfy his trade. Even manufac- 
turers turning out the same kind of product handle the 
finishing differently. In the matter of details this is 
equally true of automobile manufacturers as of others. 
Each has designed and built special equipment such 
as spraying cabinets, overhead trolley and conveyor 
systems, heating, ventilating and lighting schemes. 

The principles involved, however, and equipment 
used are much the same whether the product to be 
finished is a piece of harvesting machinery, a sewing 
machine, a desk or an automobile. The materials 
used for dipping, spraying and flowing-on automobile 
parts are better than are needed for harvesting ma- 
chinery and the like, being as nearly the same as for 
brushing as the different method of applying will per- 
mit. Only the smaller parts such as fenders, axles, 
lamps and the like are dipped. The body finish is 
sprayed or flowed on. So a general outline of the 
processes and equipment used by somfe manufacturers 
will convey a fair impression of what has been and is 
being done along this line of modern finishing. Then 
each one must work out his own details, equipment 
and methods. 

The advantages offered by these modern methods 
are apparent and well known. Increased production 
is the chief motive for developing them, although the 



AUTOMOBILE PAINTING 157 

saving in labor and in space are very material. The 
quality of finish in most instances is superior in ap- 
pearance to much that is produced by the brush meth- 
od, but the latter is more serviceable often, with 
enough time given to the work. These processes, to 
be sure, are valuable chiefly in plants where quantity 
of production is a vital factor. Automobile factories 
turning out from one hundred to a thousand cars per 
week or month would find the task of finishing so many 
bodies, wheels, fenders and other small parts required 
impossible without the aid of these processes. And 
to provide the space alone needed to finish so many 
bodies by the slower hand brushing and drying method 
would bankrupt the corporations. 

The possibility of factory methods being of use to 
some small job shop painters may be remote, except 
as a knowledge of how the original painting of the cars 
they work on enables them to judge more accurately 
what treatment to employ for refinishing. And yet, 
the painter possessed of a little ingenuity can modify 
and adapt them to his needs and to his advantage. 
The larger shops are able to use the factory spraying, 
dipping, flowing-on and baking processes in a modified 
form. Aside from the utility feature of factory meth- 
ods, the automobile painter in job shops is interested 
in knowing how the factories operate in turning out 
such a tremendous volume of finished cars in so short 
a time. And well he might be, for these same enamel- 
ing, spraying, flowing-on, dipping and baking proc- 
esses will, before long, be developed for use in all 
job shops. Even now some of the city shops employ 
them. Both the methods and equipment are sure to 
be worked out eventually so every shop will use them 
when quite a volume of work can be secured. 

Without factory methods the painter can do, with 
equal care and suitable shop facilities, as fine finishing 
as can be turned out of any factory. The hot-room, 
if not the oven, helps get the cars through faster and 
he can make up in the durability and serviceableness 
of his finishes for what he lacks in speed. 



158 AUTOMOBILE PAINTING 

MATERIALS. 

Most all large paint manufacturing and varnish 
making firms produce special paints, enamels, var- 
nishes, primers and fillers for use with the factory- 
processes of spraying, dipping, fiowing-on and bak- 
ing. It is most satisfactory to purchase these mate- 
rials from a reliable manufacturer who will know just 
what you need when you have specified how and where 
the material will be used. Here are some firms who 
can be depended upon to furnish the correct materials : 

The Sherwin-Williams Co., Cleveland, O. 
John Lucas & Co., Chicago, 111. 
Chicago White Lead & Oil Co., Chicago, 111. 
Moler & Schumann Co., Chicago, 111. 
John W. Masury & Son, New York, N. Y. 
Glidden Varnish Co., Cleveland, O. 

The ordinary material made to be brushed on and 
:air dried is not satisfactory for baking. For best re- 
sults with any of these methods the materials ought 
to be mixed especially to fit the surface and mode of 
applying it, in fact, the success gained depends upon 
using just the right material for the purpose. As a 
rule these special paints, enamels, primers and fillers 
are bought in paste form, ground very fine in varnish 
and are then thinned as needed with a specified quan- 
tity of varnish, benzine, naphtha, turpentine, turpentine 
substitute, white spirit or a mixture of two or more of 
these volatile liquids. Such materials dry hard in 
from one to twenty-four hours according to the treat- 
ment, temperature, etc. The pigment must remain 
in suspension a reasonable length of time, and not 
separate from the liquid too soon. In large tanks it 
is difficult to stir up the paint every day or oftener if 
the pigment settles to the bottom. A flow of com- 
pressed air, moving paddles and other mechanical de- 
vices placed in tanks are used to agitate the paint to 
avoid this separation of pigment and liquid when 
necessary. 

The comments to follow immediately concerning 



AUTOMOBILE PAINTING 159 

materials are intended only to convey an idea of how 
these special paints are mixed for some manufactured 
products finished by the factory methods under dis- 
cussion. To make one's own mixtures, it will easily 
be seen, requires an intimate and expert knowledge 
of all such materials in action, alone and in combina- 
tion with others, a thorough understanding of surfaces 
and working conditions, and more or less experiment- 
ing. Paint manufacturers who supply these special 
paints are well posted concerning these things. The 
consistency and action of a mixture must be just right. 
If too thin, too much will run off the surface and so 
the article will not be sufficiently covered. A little 
mixing varnish in the paint helps to hold it in place. 
If too thick it runs, drips, sags, wrinkles and fat edges 
occur. These can be controlled to some extent by 
catching them up with a soft fine brush immediately 
upon finishing, but if the mix is not proportioned cor- 
rectly as to liquids and pigments the paint may run 
again while drying, even after having been smooth 
and fine. A little experimenting with various con- 
sistencies will enable one with patience, the power of 
observation and analysis to put together just the right 
mixture for each particular kind of surface. Needless 
to say every batch mixed for experimental purposes, 
and for stock use too, for that matter, should be care- 
fully measured, — the whole mixture and each ingredi- 
ent separately and careful records kept. Then any 
mixture can be again put together for further experi- 
ment, especially those which show some, if not all, 
desirable qualities. When the correct mixture has 
been found to give the results wanted the formula will 
be known and can be reproduced. 

To attain the qualities of hard and quick drying in 
paint, only varnishes made with that end in view and 
such of the drying oils as are permissible from the 
standpoint of cost are suitable. The long oil, elastic 
varnishes are more durable than quick, hard drying 
varnishes, but their slow drying makes them imprac- 
tical. Among the most suitable drying oils are lin- 



160 AUTOMOBILE PAINTING 

seed oil, china wood oil and soya bean oil. The non- 
volatile heavy mineral oils, fish oils and some others 
offered as substitutes for pure linseed oil or used to 
adulterate that product are not to be considered, low 
cost being about the only element in their favor. 

Both the oil and varnish are depended upon to 
anchor the paint to the surface and to bind the pig- 
ment together. The varnish also is needed to help 
keep the pigment on the surface and cover it, to avoid 
runs, sags, drips and fat edges. The oil also, furnishes 
the elasticity needed by the paint to enable it to ac- 
commodate itself to the expansion and contraction of 
the surface with heat and cold. With too large a 
quantity of linseed oil in its composition it would not 
dry hard nor quickly, and the paint would wrinkle, run 
and sag. Oil helps the pigment to spread out to an 
even thickness on the surface and to flow together. 

Benzine, naphtha, turpentine, turpentine substitute 
or other white volatile spirits are used merely as a 
mechanical means of depositing the paint on the sur- 
face. They evaporate in a few minutes and have 
little or no binding effect upon the pigment. Gen- 
erally the paint should be made as thin as possible with 
the benzine or other liquid and yet have it cover the 
surface well and stay where you put it. 

The white spirit is a petroleum product costing 
less than half as much as turpentine. For many paint 
dipping mixtures it serves as well as turpentine. The 
white spirit having a flash-point of from 80 degrees 
to 90 degrees is very extensively used by manufactur- 
ing plants. 

Enamels used for spraying, dipping and flowing 
become a little too thick after being exposed in tanks 
a while. Add a little kerosene (with a specific gravity 
of 81 degrees at 60 degrees F.) to thin and give it a 
flow. Nothing but turpentine should be added to 
white enamels. Kerosene will turn them yellow. 

When considering the pigments for spraying and 
dipping paints the specific gravity, which is the rela- 
tive density of each, is all important. Those having 



AUTOMOBILE PAINTING 161 

the highest specific gravity are often too heavy for use 
in large dipping tanks v^ithout quite elaborate stirring 
and agitating machinery to keep the pigment from 
settling to the bottom in too short a time. Practically 
all of the most useful pigments separate from the liquid 
and settle to the bottom of the tank after a day or so 
of idleness. Below is listed the commonly used white 
and colored pigments, giving the specific gravity of 
each: 

White Lead. Specific Gravity 6.750. The most 
opaque, best covering and hiding of the white pig- 
ments. Not generally useful for large dipping tanks 
unless with stirring and agitating machinery in the 
bottom of the tank, because of its weight and density 
which makes it settle to the bottom of the tank a little 
sooner than other white pigments. Its greater ability 
than all other white pigments to cover and hide a sur- 
face gives it considerable advantage for white, grays 
and all light colors, whenever it can be practically 
handled to avoid the settling of the pigment in the 
bottom of the tank by the use of agitators or small 
tanks which can be stirred occasionally. This greater 
opacity of white lead makes it possible to use a slightly 
thinner paint than when other white pigments are used 
as a base for paints. 

Other important qualities of white lead as a base 
for paints are worth mentioning. It possesses an 
unusual affinity for linseed oil. Thinned with turpen- 
tine it makes a paint of superior surfacing qualities 
capable of being sandpapered, or rubbed with pumice 
and water, to a dense fine appearing surface. These 
are the qualities which have enabled it to hold first 
among carriage and automobile painters everywhere 
in spite of the many substitutes offered. 

Zinc Oxide. Specific Gravity 5.470. This white 
pigment is used alone, in combination with white lead 
and with other white pigments for making the grays 
and other light colored paints. It is less elastic than 
white lead and when used alone may promote cracking 
and scaling, but with twenty-five or fifty per cent of 



162 AUTOMOBILE PAINTING 

white lead it makes for fine results. Zinc is a finer 
pigment than lead and is better for spraying for that 
reason. 

Zinc and white lead are the two white pigments 
to be preferred. In general practice zinc usually pre- 
dominates in quantity. When other pigments are 
added it is largely to cut down cost of the paint and 
to introduce lighter pigments which remain in sus- 
pension longer. The paint thus produced is sufficient- 
ly durable for the life of the product coated. Enough 
lead or zinc ought to be used in the paint to give cover- 
ing, surfacing and flowing qualities. There are nu- 
merous practical and technical men of experience who 
believe that the adulteration of lead or zinc with from 
ten to twenty-five per cent of inert pigment or pig- 
ments, such as asbestine, silica, barytes, whiting or 
china clay improves the paint materially for factory 
use. 

Asbestine. Specific Gravity 2.344. Because of the 
low density of this white pigment it is considered the 
best by some to extend white lead and zinc mixtures 
and to keep them in suspension in the liquid. It im- 
proves dipping paints by keeping the pigment from 
settling too rapidly, but is a detriment to paints to be 
spread with a brush. It interferes with their spreading 
out level and flowing together. 

China Clay. Specific Gravity 2.110 to 2.617. Re- 
mains in suspension well when mixed with a liquid 
and has some claim to merit for use as a suspension 
agent in paint mixtures. It is not very opaque, how- 
ever, and so its use lessens the ability of the paint to 
cover and hide the surface. 

Whiting, Bolted. Specific Gravity 2.673. Is used 
to some extent. Having somewhat of an alkaline 
nature, coming from lime rock as it does, it is detri- 
mental to certain colors. 

Silica, Floated. Specific Gravity 2.596. Used in 
primers to make a surface with a "tooth" to catch hold 
of the second full bodied dipping coat. Made from 
ground rock, and so is of a crystalline nature. Gen- 



AUTOMOBILE PAINTING 163 

erally used in moderate quantity in dipping and spray- 
ing paints with the idea that it helps drain off surplus 
paint, in the case of dipping, giving movement to the 
paint to assist in flowing together and leveling up. 

Barytes. Specific Gravity 4.144. 

Colors. The following colors having a low speci- 
fic gravity are especially useful alone and for tinting 
white pigments to be used for dipping. The earth pig- 
ments, siennas, umbers, ochres, iron oxide reds, Vene- 
tian red, etc., are not as strong in tinting ability as 
chemical colors like Prussian blue, chrome green and 
chrome yellow. They cannot, therefore, withstand as 
much adulterating with clay, silica, barytes, whiting 
and such inert pigments for ground coats of paint 
which are to be varnished over. When earth colors 
are to be used with enough varnish to produce a gloss 
finish they will not stand adulteration at all : 

Ochre Specific Gravity 2.822 

Venetian Red Specific Gravity 3.560 

Indian Red Specific Gravity 4.732 

Raw Sienna Specific Gravity 3.081 

Burnt Sienna " Specific Gravity 3.477 

Raw Umber Specific Gravity 3.496 

Burnt Umber Specific Gravity 3.518 

Prussian Blue Specific Gravity 1.956 

Ivory Black Specific Gravity 2.319 

Chrome Green, Med Specific Gravity 5.239 

Chrome Yellow .-. Specific Gravity 5.842 

Iron Oxide Red Specific Gravity 3.496 

Lamp Black Specific Gravity 1.691 

Some manufactured articles in and out of the auto- 
mobile industry are finished with one dipping, some 
are dipped two coats and some three. In certain in- 
stances a priming coat is brushed on, the second 
dipped and a third dipped. And again, a brushed on 
primer, dipped second coat and a sprayed-on or 
brushed-on finishing coat comprises the method. 

When the paint is to finish with a gloss it is neces- 
sary simply to increase the amount of varnish and 
decrease the oil and benzine. If more than one coat 
is to go on, the coats should be mixed to dry alternately 
flat (no gloss) and gloss; that is, always place a gloss 



164 AUTOMOBILE PAINTING 

coat on top of a flat one and vice versa, if you would 
have it stay there and anchor well. 

A varnish finishing coat is sometimes made to carry 
a little color. A varnish-color or an enamel is made 
of it, in other words, according to whether the quan- 
tity of varnish is greater than the quantity of pigment 
or the reverse. 

Every precaution known is taken to eliminate dust 
from rooms where dipping, brushing, spraying, flowing 
and baking of materials are carried on. Walls and 
floors are oiled, the air supply is water washed, win- 
dows and openings are dust proof and no one is per- 
mitted to move unnecessarily about the room. The 
quick movements of a person walking, and especially 
the closing of a door quickly, can stir up enough dust 
to spoil a fine varnish coat. 

Considered only from the standpoint of detail each 
automobile factory is a law unto itself, but in general 
principles and systems used they are all quite alike. 
One factory will dip certain parts which others spray, 
while another plant will flow on the body finishes 
rather than spray them. Some plants spray on the 
primer, while others brush it on. Many hold to the 
rule of always brushing on the finishing coat of var- 
nish over sprayed or flowed on undercoats. This last 
varnish coat is usually air dried, or baked an hour or 
two at a low temperature, 90 degrees to 120 degrees, 
just enough to set the varnish dust free, and then air 
drying is depended upon to finish. 

Most plants where automobiles are built and paint- 
ed were built specifically for that purpose, and so each 
building, each department, each piece of equipment 
and machinery were placed according to a previously 
worked out plan. Each automobile, and each part of 
it begins at a certain specified part of the factory and 
is routed to travel through each operation of building 
in a progressive manner. When each part of the car 
has been completed in its shop it arrives at a certain 
point ready to be used with other necessary parts to 
be assembled into a completed car ready to be painted. 



AUTOMOBILE PAINTING 165 

For illustration start with the frame. The pieces of 
channel steel are cut and riveted together in one shop, 
the frame is then cleaned and dipped to prime coat" it. 
When dry it is placed upon a low truck large enough 
to hold the completed chassis. The truck moves out 
of that shop into another long building. It is stopped 
just long enough to bolt on the springs which have 
been previously bolted to the axles. The truck is 
pushed on to the next crew of workers who bolt on the 
wheels. The next move is perhaps to have the engine 
put in place, then the radiator, the hood, body, fenders, 
running board, windshield, top and other equipment. 
When the car reaches the other end of the assembly 
shop it is ready for the purchaser. Once started 
through the shop, the car goes forward always at a 
regular time ; never back and forth from one operation 
to another because that loses time, causes confusion 
and interferes with inspection. Each part, — the axles, 
wheels, frame, fenders, body, etc., has been finished 
ready for service in its own shop before being assem- 
bled with other parts to m.ake a car. Each part has 
its own painting schedule, route and time to go 
through from start to finish. Small parts are dipped. 
Springs, axles and wheels are usually finished by spray- 
ing all coats. Bodies receive various treatment, — 
usually a sprayed or brushed-on primer; sprayed or 
flowed-on filler, color and rub coats; and brushed-on 
or flowed-on finishing varnish. The brushing opera- 
tions are carried on in the usual manner followed by 
all auto and carriage painters. Having so much prac- 
tice in each line of work, the painters doing it become 
experts of the highest type. The spraying, flowing, 
dipping and baking operations will be discussed sepn 
arately in the following paragraphs. 

SPRAYING. 
Section 29. 

The coating of surfaces with paint enamel, rough- 
stufif, color and varnish in this manner requires the 
use of what is called the air brush. For many years 



WHEN NOT IN USE SHUT OFF 
THE VAUVE5 TO PREVENT 
AIR SETTINQ INTO MATERIAL 
HOSE , HARDENING THE PAINT, 




ftiQu^e s-* 



AUTOMATIC 
"UNLOADER 



AIR FILTER 



Hcw On. uev 



LOW OIL LEVI 



Air Compressor Outfit Complete Fom 
Electric op Gas Engine Drivb 



AUTOMOBILE PAINTING 167- 

there have been various kinds of spraying instruments. 
on the market, but they have been used mostly for 
w^ater paints, white wash, calcimine and other thin 
mixtures. It remained for the perfected machine of 
today to really succeed in spraying the heavier mix- 
tures. 

The early types of spraying instruments which 
were successful only with white wash and the like 
carried thirty or forty pounds pressure on top of the 
material in a tank. The material came out of the 
nozzle in a solid stream instead of a fine spray; it 
didn't break up. Of course the machine wouldn't, 
spray such a heavy liquid as varnish or oil paint. 

The next type preceding the present day brush is. 
still on the market and is used for spraying disinfect- 
ants on plants and animals. The liquid is placed in. 
a can below the air nozzle. A pipe from it leads to= 
the air opening from a pump or hose. It depends on, 
the vacuum principle. The air rushing over the open, 
end of the material supply pipe raises the material and. 
'throws it on to the surface as a spray. This type was^ 
an improvement over others, but still it failed to handle^ 
the heavy oil paint and varnish mixtures. 

The present day air brush is called a concentric 
type. The air and the material do not meet at the-: 
oUtlet of the nozzle as in other types but in a tube,, 
sort of a mixing chamber, before coming to the nozzle 
opening which is cone shaped. That throws the air 
and liquid together before going out of the nozzle 
opening, which is smaller than the mixing tube; A, 
needle valve with the shank running through the mix- 
ing tube, opens and closes the hole in the nozzle from 
the inside by pulling a trigger. To some extent this 
needle valve shank obstructs the passage of air and 
material through the opening and that helps to break 
up the liquid into small atoms to form the spray. 

The principles upon which this final and present, 
day air brush is built give it many advantages over- 
former designs and especially over hand brushing. It 
will apply, with special nozzles for each material, prac^ 



168 AUTOMOBILE PAINTING 

tically all paints, varnishes and enamels whether mixed 
in oil, water, varnish, benzine, turpentine or alcohol. 

It is four times as fast as hand brushing for the 
application of these materials which means not only 
increased production for the paint shop but also a 
saving of labor cost and of time. It is obvious then 
that the air brush equipment is of value only for shops 
having a large business, or those at least which can 
secure a much greater number of jobs than they have 
been able to handle without this new equipment. The 
material is distributed to a more uniform depth over 
the surface than can be attained by brushing. 

The most remarkable feature about this method 
of applying paint, varnish and enamels is the exact 
control exercised over the quantity of material put on 
to the surface and the width of the spray. The spray 
is started, controlled and stopped instantly by pressing 
and releasing a finger trigger. With certain models of 
the air brush a fine line spray is steadily increased in 
width on the surface until it is several feet wide. The 
control of the spray is perfect. The harder the trigger 
is pulled, the more air is released and the wider the 
spray becomes. 

By using a special nozzle a thick, heavy enamel 
or varnish can be sprayed quite as readily as a thin 
mixture. With a small, finely set nozzle the air brush 
can be used for small pieces of jewelry and enamel 
ware. Air brushes have been in use for a long 
time by artists for wash drawings and various kinds 
of work about art studios and engraving houses. Such 
work requires much more accurate control and use of 
the instrument than any automobile painting. Indeed 
few people realize how extensively the air brush is 
used by manufacturers of such products as sewing 
machines, bicycles, gas meters, street cars, picture 
frames, gas stoves, electrical parts, automobiles and 
many other articles. 

The amount of air pressure needed to operate an air 
brush ranges from twenty to eighty pounds per square 
inch, according to whether thin varnishes or thick 



AUTOMOBILE PAINTING 169 

paints are being sprayed on. The most desirable pres- 
sure is the lowest that will break up the material into- 
a spray. From one to three cubic feet of air per min- 
ute are used. 

The amount of material used is greater or less than 
is used by the ordinary hand brush according to the 
care taken by the operator. 

An inexperienced workman can be taught to oper- 
ate the air brush in a much shorter time than to do a 
good job with an ordinary brush. 

Automobile and carriage finishing varnishes are 
sprayed on as nearly as possible in the same consist- 
ency as they are received in the can. Rubbing var- 
nishes are thinned a trifle with turpentine, they do not 
flow together on the surface quite as readily as finish- 
ing varnish. It is not so important that they be 
sprayed on in as heavy a coat as in the case of finishing 
varnish. Lead coats, roughstufif and japan color coats 
are sprayed on quickly and perfectly, after being thin- 
ned a little more with turpentine than would be desir- 
able for application by hand rubbing. They are laid 
on smoothly and, having no brush marks, require less 
rubbing. 

In general paints and enamels which are of the 
right composition and consistency for dipping are also 
about right for spraying, although it is practical to 
apply much thicker enamels and varnishes by spraying 
than by dipping. Paints and enamels having a too 
heavy pigment (too high in specific gravity) may often 
work no better by spraying than by dipping, because 
of the settling of the pigment to the bottom. Too 
heavy pigments may give an uneven appearance to the 
finish. Heavy pigments which settle too rapidly can 
be more easily, cheaply and conveniently stirred by 
the agitators of the air brush equipment than by such 
means as are usually possible and at hand when they 
are used in dipping paints. 

The materials, especially heavy varnishes and 
enamels, are more fluid and spray more freely when 
the air is hot. In fact, the material itself can be heated 




S AIB 




Paasche's 8-foot equipment complete to attach to the air line. Most popular 
equipment among piano and furniture manufacturers. 



172 AUTOMOBILE PAINTING 

to advantage. The surface sprayed ought to be not 
colder than 70°. 

There are many variations of this modern instru- 
ment but they all have much in common, including 
those made in Europe. Probably the two best known 
American manufacturers of spraying instruments are 
the DeVilbiss Manufacturing Co., Toledo, Ohio; and 
the Paasche Air Brush Co., Chicago, 111. Both con- 
cerns make instruments and equipment to handle any 
kind of paint, varnish or enamel. In Figures 24 to 28, 
will be found illustrations of the Paasch instruments 
and equipment suggested for use in finishing automo- 
biles. 

In Figure 24 will be seen the three main units of 
the Paasche spraying equipment: — Air Brush, Com- 
pressor and material container. 

Figure 25 gives a sectional view of the working 
parts of the brush, while Figure 26 shows Air Heater 
used to warm the air as it passes through the hose. 
Most varnishes, enamels and paints flow together on 
the surface and produce a finer job when hot air is 
used. 

Figure 27 is an Oil and Water Separator. The air 
compressor, like all other pieces of machinery with 
moving parts, must be suppied with oil. From the 
cylinder the oil gets into the hose air line and then to 
the brush and when mixed with the paint or varnish 
being sprayed interferes with getting a nice surface. 
Water gets into the air hose through changes in tem- 
perature, which cause the metal lined hose to sweat. 
On lowering the temperature the air condenses, leav- 
ing some water inside of the hose compressor and tank. 
The simple mechanical attachment shown removes 
both water and oil from the air as it passes through on 
its way to the brush. 

Other attachments which serve to bring this outfit 
up to a high point of efficiency are an Air Regulator, 
by which any desired pressure on the brush may be 
steadily maintained, regardless of what pressure is 
registered in the compressor tank, and an Automatic 



174 AUTOMOBILE PAINTING 

Electric Controller, with which the compressor is start- 
ed and stopped. 

Figure 28 illustrates the Auto Finishing Cabinet 
and the position of a body on a truck while being 
sprayed. In the top and sides of the cabinet, which by 
the way are made of sheet iron on a steel angle frame, 
are placed glass to let in as much light as possible. 
Electric lights are usually placed in the top also. In the 
back of the cabinet is quite a large opening through 
which the fumes from the paint being sprayed are 
drawn out of the cabinet by an exhaust fan, run by an 
electric motor usually, and carried through large metal 
pipes discharging outside of the building. This avoids 
the "benzine jag," as the workmen describe the effect 
upon them of using so much volatile liquid, the gas 
from which fills the air when no cabinet or fan are in 
use. These cabinets are made in many sizes to fit the 
different parts of a car which are sprayed. 

In large factories where dozens of cabinets and air 
brush outfits are in use, the compressed air is piped 
to the brushes from the engine room, where a large 
compressor outfit supplies air more satisfactorily than 
many small compressors could and with less trouble 
and expense. 

Following are listed two complete spraying outfits 
of the Paasche type together with information of in- 
'terest taken from published directions for operating 
such equipment: 

PAASCHE AIR BRUSH OUTFITS 
Equipment needed by an automobile repair shop and re- 
painting establishment: 

Model "N," No. 3 Paasche Air Brush with gravity- 
feed metal cup .$ 28.75 

Extra nozzle No. 1 for use with small parts and light 

liquids 3.00 

1 length air hose with couplings 1.50 

1 4^ Finishing Cabinet 24.00 

1 No. 16 Superior Exhaust Outfit 54.00 

1 No. 31 Air Comperssor Outfit, mounted on metal 
base in one unit, complete ready to attach to any 

power line, electric motor or gasoline engine 82.50 

Approximate cost $ 194.75 



AUTOMOBILE PAINTING 175 

Air brush finishing equipment such as are furnished 
automboile or wagon works. Consist of the following 
medium sized equipment: 

1 1& Paasche Superior Finishing Cabinet, 8' high, 16' 

wide, 12' deep $ 185.00^ 

2 No. 24 Superior Exhaust Outfits. 220 00 

1 Model "N" No. 3 Paasche Air Brush with 4 gallon 

container, hose agijtators and fittings complete 37.50 

1 Extra Model ''N" 5 material adjusting parts for use 

with heavy paints on large surfaces 3.0G 

1 Extra "N" 5 air cap and guide and 10' length air 

hose with couplings 2.50 

1 Gravity feed metal cup for sample work and experi- 
mental purposes 1.75 

Water and Oil Separator, regulator with gauge and 

ittings for electric, air and material heater unit... 51.0D 

Approximate cost $ 500.75 

Air compressor outfits for equipmejit of this 
kind are furnished in different sizes to accommodate 
from two to thirty or forty brushes and have to be 
quoted accordingly. 

For the most successful operation of the Air Brush 
the air pressure used must be clean, dry, free from 
moisture, and in most cases, warm. A regulator is 
used for controlling the pressure which, for heavy 
materials, ranges from 50 to 80 lbs. The pressure 
varies in range according to the consistency of the 
material used. For heavy materials the pressure nat- 
urally has to be higher. From 50 to 80 lbs. is required 
on heavy materials, such as paints, baking enamels,, 
celluloid enamels and varnishes, etc. Shellacs, stains 
and lighter liquids are applied with from 25 to 45 lbs. 
pressure. 

The construction of these brushes, separating mate- 
rials entirely from any of the working parts, makes 
it unnecessary to soak the brush every night. For 
this reason it can be left connected to the varnish or 
material supply and used for weeks without cleaning. 
We, however, recommend the removal of the color ad- 



176 AUTOMOBILE PAINTING 

justing parts once a week for thorough cleaning. 

Color adjusting parts (nozzles) are made in six 
sizes : No. 0, very fine for use with shellacs and very- 
light liquids on rods, spindle work, chairs and small 
metal parts, also stencil and decorative work. Parts No. 
1 are twice the capacity of parts No. 0. Parts No. 2, 
twice the capacity of No. 1, and the rest of the parts 
correspondingly of twice the capacity of the next size 
smaller. No. 3 is most extensively used for paints, 
enamels, varnishes on medium size work. Parts No. 4 
are used for heavier materials and on large surfaces. 
Parts No. 5, the largest size, are used for very large 
surfaces where heavy materials are to be applied very 
rapidly. An extra set of parts should be kept on hand, 
as this will almost take the place of another brush, 
should the part in use need repairing or attention. 
Special nozzles made of tempered steel are furnished 
for metal and wood fillers, for use with gritty and cut- 
ting materials which can be used in these brushes 
without the slightest harm or injury, as the material 
does not get into any of the working parts of the 
brushes. 

Interchangeable parts feature makes it possible to 
use any size parts, underslung bottle, gravity feed 
metal cup, overhead container or pressure feed mate- 
rial containers. 

When overhead containers are used the brush can 
be left connected to the material hose as long as there 
is sufficient material in the container to cover the out- 
let. The automatic closing of the nozzle prevents air 
getting into the material and for this reason it cannot 
dry or harden in the brush. When cleaning use under- 
slung bottle filled with a good solvent or cleaning 
medium and attach bottle to the brush, — pull the trig- 
ger and the air will draw this cleaning medium through 
the color parts dissolving the material inside of same. 

After all connections have been made, material 
placed in the container or cup. air pressure regulated 
to proper pressure for material used, the brush is ready 
for operation. 



AUTOMOBILE PAINTING 177 

The first short pull of the trigger permits only air 
to go through the brush. It is in this way used for dust- 
ing and blowing off work. By pulling further back- 
ward on the trigger the material valve gradually opens 
and will furnish from a line to any size spray wanted 
according to the different positions the trigger is held 
in. This excellent control facilitates covering more 
surface with less material than with any other brush 
made and a little practice on the part of the operator 
should familiarize him with the continual opening and 
closing or starting and stopping of the brush. With 
a few days' practice, he will be able to apply the light- 
est or heaviest coat perfectly even and uniform, with- 
out sags or runs. 

Should the work finished show sags or runs, it is 
due to uneven coating and the inexperience of the 
operator in the control and proper use of the trigger. 
This, however, is very easily overcome with practice 
which will reveal the unlimited and wonderful possi- 
bilities of the air brush. 

We recommend that new operators practice with 
under coats until sufficient experience is gained to 
apply last coat with accuracy and precision. 

For narrow work where a small spray is necessary, 
the brush is held approximately four to six inches from 
the surface. Where very big and heavy spray is re- 
quired for larger surfaces, the brush is held approxi- 
mately 12 to 16 inches from the surface. 

Should the finish appear dotted or rough, the mate- 
rial may be too heavy, the pressure too light or there 
may be moisture in the air, such as water or oil from 
air compressor, caused by condensation in air line. To 
remove this we recommend separators and electric 
heaters. 

Gravity feed metal cups are made in pint and quart 
sizes. These are recommended for use with heavy 
materials used in small quantities. Overhead contain- 
ers are furnished in one, two and four gallon sizes. 
These eliminate continual filling, makes the brush 
much lighter and convenient to operate and to get into 



178 AUTOMOBILE PAINTING 

awkward places. They are for this reason the most 
extensively used. Underslung bottles are used for 
bronzes, materials that settle very fast, and very light 
liquids used in small quantities. The underslung bot- 
tle is also used for cleaning, by keeping a bottle for 
this purpose filled with cleaning medium ready to 
attach when changing from one material to another 
or cleaning the brush after it has been used, it saves 
a good deal of time and does away with removing the 
color parts for cleaning. 

Agitators are furnished with overhead containers 
to keep all heavy materials that have a tendency to 
settle, well stirred. All materials used in an air brush 
should be well stirred, strained and free from lumps 
and grit before filling the containers, as this will elim- 
inate clogging in the hose as well as to produce a 
much higher grade and better finish. 

Trigger No. 3 will furnish a strong blast of air for 
cleaning purposes by pulling it back sufficiently to 
strike trigger No. 22. Then the air valve only opens, 
making it very convenient to blow out chips, dust or 
dirt off the surface parts to be finished. By pulling 
trigger No. 3 further back, trigger No. 22 opens mate- 
rial valve gradually, and in this way instantly furnishes 
a light or heavy stream as is required for the largest 
or smallest surfaces to be finished. 

THE FLOWING-ON PROCESS. 

Section 30. 

This is a quite recent modification of the dipping 
process in one sense, and yet it resembles spraying in 
some respects. It is used mostly, if not solely, by 
automobile manufacturers for finishing bodies. The 
process consists, mainly, of two different ways to flood 
the surface with paint, enamel or varnish, allowing the 
excess of material to drain off into drip pans, where 
it collects and flows through strainers back into the 
tank from which it came. This process depends en- 
tirely upon gravity to force the paint from the supply 



AUTOMOBILE PAINTING 179 

tank through the hose and out of the nozzle. 

The possibilities of this finishing method are really 
great, both for factory finishing and for use by the job 
shop painter. The practical value of such a method 
for applying paint, enamel and varnish is being demon- 
strated by most automobile manufacturing plants to- 
day, among them the Ford, Franklin, Overland and 
others. There are, to be sure, some little variations 
in the details of the method as used by each manufac- 
turer, but the general principles are followed alike by 
all. 

Referring to Figure 29. The material to be 
flowed on to the body is placed in an overhead metal 
tank which may be any size, from five to fifty gallon 
capacity, having a tight cover to keep dust out and 
prevent the material from skinning over the top if 
allowed to stand unused for a while. An air opening' 
must be made in the top of the tank when using. The 
atmospheric pressure is needed to force the material 
through the hose. Gravity will not overcome the 
vacuum in a closed tank. 

A large tank would no doubt require some mechan- 
ical revolving paddle arrangement to keep heavy pig- 
ment paint stirred up. Small tanks emptied often can 
be stirred sufiiciently with a hand paddle. Large tanks 
had best be located on the floor above the finishing 
room, while smaller ones might be made fast to a 
rope run over a pulley fastened to the ceiling. Then it 
could be hoisted up ten or fifteen feet when in use and 
dropped down to be cleaned and filled. The larger 
the tank and volume of material in it and the higher 
up it is raised, the more force the stream of material 
coming out of the nozzle will have. A very strong 
flow is not wanted. A wide ribbon of material with 
force enough to carry four to six inches out and away 
from the nozzle is about right. It should flow like 
water out of a garden hose under low pressure. 

The small tanks are to be preferred when only a 
few bodies are to be finished the same color and when 
for any reason a large batch of one color is not to be 



AUTOMOBILE PAINTING 181 

mixed up. A tank of small diameter but quite high 
would give a more steady pressure with a small quan- 
tity of material than one large in diameter and a shal- 
low depth of material in it. 

Just above the hose connection at the bottom of 
the tank, Figure 29, a shut-off cock is needed so the 
material can be shut off and the hose removed without 
draining the tank, if need be. 

Next below this cock should be placed a flexible 
pipe joint, like Figure 30, to which the material hose 
is fastened. It is called the "Barso" Flexible Joint, 
Iji or ly2 inches in diameter, and can be bought 
through any steamfitter or from The Crane Co., Chi- 
cago, 111. This joint permits the hose to move in any 
direction freely so the nozzle on the other end may be 
carried from one side of the auto body to the other 
while flowing on the material. 

The hose carrying the material from tank to nozzle 
must be flexible and metal lined. It costs about 
twenty-five cents per foot and must be long enough to 
be handled freely on all sides of the car body. The 
hose should remain as nearly perpendicular as possible 
while in use so the material will have a free flow un- 
obstructed by kinks. A hose of Iji inch or 1}4 inch 
diameter is about right. It is well to suspend the 
tank as nearly over the center of the car body as pos- 
sible to help give the hose freedom of action in use. 

The nozzle is quite different than spray nozzles, 
being simply a metal spout with a slotted opening 
about four inches long and from one-sixteenth to three- 
sixteenths of an inch wide through which the material 
can flow out in a flat ribbon shaped volume. A thin 
mixture would work best with a narrower slot than is 
needed for thick, slow moving varnishes and enamels. 
The nozzle should be made with a one-half inch wide 
slot. Then two or three plates having narrower slots, 
one-sixteenth, one-eighth and one-quarter inch wide 
could be kept on hand. The one which works best 
with the material being used can be quickly screwed 
on to the nozzle and changed when a different material 



182 AUTOMOBILE PAINTING 

is used. Figure 31 shows such an arrangement on a 
nozzle with a shut off valve in it to start and stop the 
flow of material. It looks quite like a vacuum cleaner 
metal connection. The shut off valve, Figure 32, 
should be of the quick opening, straight way, gate 
type l}i inches or 1^^ inches in diameter to fit the 
hose. It can be secured from the The Crane Co., 
Chicago, 111. 

The body to be finished is placed upon a truck, hav- 
ing wheels on it, which is a trifle narrower and shorter 
than the bottom of the body. It is just high enough 
to bring the body to a convenient working position. 

A drip pan made in the general shape of a horse 
shoe, is mounted on a firm frame and fastened to the 
floor. It runs, like a rain gutter on a house, around 
three sides of the body and directly under the sides 
and back so as to catch the drip. It is mounted on the 
frame so the front end of one side of the gutter is 
enough higher up than the back gutter, and that on 
the other side of the body, so that the paint which 
.drips into the gutter all runs down hill to the lowest 
end of the gutter on one side, then through a strainer 
into a tank. The material, after being strained, is 
pumped or carried back to the overhead supply tank 
and used again. The waste is very small indeed. 
Figure 33 shows this drip pan gutter arrangement. 

The amount of material used on a body each coat 
is usually a little greater than would be put on with 
a brush, but the number of coats required is less, by 
at least one, and the durability of the job is increased 
by the heavier coats. 

With the equipment in place and the tank filled 
with material, place the body on the truck and roll it 
in between the metal drip pans. With an ordinary 
bristle brush lay a strip of the paint or varnish to be 
flowed-on two or three inches wide around the top of 
both sides and back of the body up next to the up- 
holstery line. It is difficult to flow the material up 
close to a line with the nozzle, so it saves time to start 
the coat with an ordinary brush. Of course, the sur- 



AUTOMOBILE PAINTING 183 

face is to be clean, free from dust and dirt first. 

Hold the nozzle three or four inches from the body, 
beginning at the top and front of the body side. Open 
the material valve, and as the material hits the surface, 
move the nozzle toward the oaxk ci the body just fast 
enough to leave a heavy ribbon of material on the sur- 
face that flows downward. Carry the stream con- 
tinuously around the back and other side to the front. 
Shut off the material valve. Then go back to the first 
side coated and flow on more material to the portions 
not yet covered by the sheet of material running down. 
Flow considerably more material than is needed on 
to the top portion of the body so it will flood over the 
whole surface coming down, making a solid sheet of 
material and running off at the ;ottom of the side wall 
into the drip pans. 

Let the job stand ten or fifteen minutes to drip 
and then run a soft varnish brush along the bottom 
edge of the body all around to remove the dripping 
material, or it will dry with a fat edge. It is then 
ready to be pushed on the truck into the drying room 
or oven for baking. All coats of material are applied 
in this manner whether, paint, enamel, color varnish 
or varnish. Experienced workmen in the factories 
flow on a coat of material to the body in from two to 
four minutes, so you can readily see that the process 
is many times faster than old fashioned brushing, 
faster even than spraying. 

Concerning materials, let it be said that whatever 
paint, enamel or varnish can be used for dipping is also 
suitable for the flowing-on method, and it can be used 
a little thicker than for either spraying or dipping. It 
is well to buy materials especially made for this pur- 
pose by paint manufacturers listed under "Materials" 
in the first part of this chapter who are aware of the 
exact qualities such materials need for best results. 
Undoubtedly, the regular air drying materials used 
with the ordinary brushing method could be so mixed 
as to be successfully put on with the flowing method, 
but of course they could not be baked. A hot room, 



184 AUTOMOBILE PAINTING 

80 degrees to 95 degrees about, would hasten drying 
sufficiently. 

The requirements of materials to be flowed-on are : 

That it must be thick enough to hide the surface 
pretty well, but if too thick, it will not flow freely and 
will wrinkle, sag and cause fat edges. 

Enough benzine, turpentine or naphtha must be 
used to thin the material to the point where it will flow 
out and together freely, to cover the surface smoothly 
to a uniform depth all over and then drain off the sur- 
plus amount into the drip pans. 

Colors, primers, fillers and enamels are usually 
ground for this purpose in mixing varnish. They 
should have at least enough quick drying rubbing 
varnish in the liquid used to thin the paste to bind the 
paint, to harden it and to cause enough paint to hold 
to and cover the surface. A little varnish in the mix- 
ture causes it to set and stick to the surface. If too 
much be used, the paint will be too sticky to flow down 
and drain of¥ as it should. 

These paints are made to contain considerable zinc 
for its fineness, enough lead to give hiding and surfac- 
ing qualities and a small percentage of fine silica which 
helps hold the material to the surface and to flow to- 
gether. Obviously coarse pigments cannot be flowed 
on, because they would run right off again and fail to 
cover. Both zinc and silica, being lighter than lead 
in specific gravity, help the pigment of the paint to 
remain in suspension. Usually some white lead is 
necessary in light colors to get hiding power. 

A few experiments on large pieces of sheet iron 
with various mixtures having different proportions 
of pigments and thinners will enable one to determine 
just the right mixtures of paint, color, enamel or varn- 
ish of the particular kind being used. Mix by measure, 
test carefully and observe results; that is the way to 
succeed with any coating. 

Using this method of finishing for low and medium 
price cars with the enamel process, a fine appearing 
and durable surface is produced with a priming coat, 



AUTOMOBILE PAINTING 185 

a color coat, a coat of egg-shell gloss enamel, one 
coat of gloss enamel and a coat of finishing varnish. 
Some plants flow on all coats except the finishing var- 
nish, which is laid on with the ordinary brush and air 
dried, after being placed in an oven about an hour to 
set the coat dust-free. 

Manufacturers who finish by this flowing-on proc- 
ess find it gives a better surface, quicker and with 
less work than any other processes used for this class 
of work. The advantages to be gained by its use are 
many. 

In the first place, the workmen are more easily and 
quickly taught to produce the right sort of finish with 
this equipment than any other, especially the ordinary 
bristle brush finishing. 

The amount of money needed to build the equip- 
ment is small, indeed, compared to what must be spent 
to install other kinds. 

The flood of material, naturally enough, pushes 

before it all dust and grit which may not have been 

cleaned off the surface through oversight, carrying it 

down to the drip pans with the excess material. In 

,this way a smoother surface results. 

Without the use of an ordinary brush, which drags 
the bristles through the material when spreading it, 
there are no brush marks, and so the amount of rub- 
'bing with pumice stone is reduced to a small fraction 
of what is usually required, it being necessary to rub 
only enough to remove dirt nibs and gloss instead of 
to cut away brush marks. This means a saving of 
time, a coat of material, labor, and increased produc- 
tion is posible. 

The method, when the material is mixed right, lays 
on a uniform depth of material, more even and smooth, 
in fact, than can be put in place even by the air brush, 
as fine a tool as it is. Gravity flows the material down 
smoothly with an accuracy impossible to be equalled 
by the hand of man with the most perfect of tools. 
This method has a future ; in fact, its day has arrived. 
The job shop painter with a little ingenuity, investi- 




FIGURE 33 




AUTOMOBILE PAINTING 187 

gation and experimenting, can use it just as effectively 
as the manufacturer if he is ready to apply himself tO' 
the task, is not too hide-bound and unprogressive to 
recognize a better, quicker, cheaper way than the old- 
bristle brushing to do first class finishing. 

This gravity flowing on process may be simplified 
to even a greater extent for use by the job shop paint- 
er. Figure 34 shows an old style one gallon milk can. 
which has been adapted for use in flowing on mate- 
rials after no greater change than the soldering of a 
slotted tin nozzle on to the spout. With the material 
strained and poured in, the can is lifted and tipped just 
enough to permit a flat ribbon of material three or 
four inches wide to flow out of the spout in a steady 
stream on to the surface. In all other respects the 
method is carried out as described for using the large- 
overhead tank and hose connection. The slot in the- 
nozzle is not to be large, — from one-eighth to one- 
quarter of an inch by three or four inches. 

The second system for flowing-on material coats- 
produces about the same results by storing the mate- 
rial in a 15 gallon tank mounted on a small trucks 
Along side of the tank is an electric motor attached to 
a rotary pump which forces the materials through a 
flexible hose and out of the nozzle in a flat ribbon 
volume. A regulator and an overflow are parts of 
this equipment also. 

This equipment and its use comprise what is known, 
as The Floco Process. It is very largely used by 
manufacturers for the flowing of varnishes and enamels 
too heavy to be well handled by the air brush and is. 
considered by some an improvement over the gravity 
flowing-on method. This equipment as well as air 
brushes is manufactured by the De Vilbiss Mfg. Co.». 
Toledo, Ohio. 

DIPPING. 
Section 31. 
This is about the most simple of all the factory^ 
operations. When the correct paint, enamel or varnish. 



188 AUTOMOBILE PAINTING 

mixture has been secured the success of dipping is in- 
sured. The proper equipment to handle the parts 
dipped is important, but not nearly as much so as the 
right mixture. 

The question of materials has been discussed all 
through this chapter in connection with spraying and 
flowing-on, and what has been said in that connection 
refers equally to materials for dipping. Again let it 
be said that to purchase the materials in paste form, 
ready to be thinned down with benzine, from a paint 
manufacturer who knows how to produce paints for 
dipping is the best practice. 

The material must be fairly thin and still hide the 
•surface well, it must flow together and level up and 
above all, drain ofif leaving a coat of uniform depth 
on the surface without any wrinkles, runs or sags. 
Dipping is most suitable for articles which are too 
■small to be well handled by brushing or spraying and 
upon which thin coats are sufficient. Such as fenders, 
tire rings, shackle bolts, springs, engine parts, tortion 
rods, brake rods and drag links are all most easily and 
.sufficiently finished by dipping. 

Parts to be dipped are usually placed in what are 
called pickling tanks which contain liquids mixed to 
remove all grease and mill scale. 

Any portion of an article being dipped which ought 
not to be painted can be coated with vaseline. After 
dipping, the paint on top of the vaseline can be readily 
wiped of^. 

As to the proportion of pigment to thinners little 
tnore than a suggestion may be given because that 
must be adjusted to fit the particular surface being 
finished. On a metal surface 4 lbs. to 5 lbs. of white 
pigment, or colors ground in oil or varnish, to the 
usual paste consistency and thinned with a gallon of 
benzine or such thinner would make a paint of about 
the right consistency. Second coats would contain 
from 4 lbs. to 8 lbs. of white pigment or color ground 
in oil to the gallon of thinner. 

But little linseed oil can be used in dipping paints 



AUTOMOBILE PAINTING 189 

as it has a tendency to wrinkle, run and sag. It doesn't 
set fast enough. 

The matter of dipping tanks, dripping platforms,- 
agitators, trolley conveyors, drying racks and elevating' 
devices is too large a subject to cover within the pur-- 
pose of this book. The variety of such equipment a& 
designed and used by manufacturers in the different 
lines of manufacture is remarkable. In Figure 35 i& 
shown a common arrangement of a tank and its trolley, 
agitator and drip board. This will give an idea of; 
the general method. This equipment is made of steel, 
as a rule. Some tanks and drip board are made of 
wood covered with sheet iron or zinc. 

When most articles are raised out of the bath of 
paint, and after being allowed to drip a few minutes, 
it is necessary to wipe ofif the beads of material which 
collect on the lowest point with a soft brush. Other- 
wise a fat edge will form. 

Long, narrow rods are best dipped vertically and 
should be hung the same way to drip. Wheels are 
best dipped in a cylinder shape tank setting upright. 
They are revolved while in the paint to make sure 
every part is covered. Then they are pulled up just 
a few inches out of the paint, but still in the tank, and 
revolved rapidly to throw off surplus material. Wheels 
are placed on revolving racks, or rather the wheels are 
revolved, for a few minutes after coming out of the 
dip to avoid runs on the spokes. Many plants finish 
wheels by spraying. 

BAKING. 
Section 32. 

Automobiles and speed are two thoughts which arcr 
inseparable. The mention of one calls up the other,, 
so closely are the ideas associated with each other to- 
day. Speed to the average person refers to the move- 
ments of the automobile, but to one who has seen the 
mechanical production and finishing processes and 
knows what great things have been accomplished. 




FIGURE 35 



•ASBE5T0S Pf\CKINe 



T FLUE GflSES 




FIGURE 36 



AUTOMOBILE PAINTING 191 

speed refers to the building and finishing of a great 
number of cars in a remarkably short time. 

The baking oven is to be credited more than any 
other equipment with helping along the rate and quan- 
tity of production. 

Baking ovens have been and are being used for 
finishing all manner of products made of metal and 
w^hich are coated by the ordinary brush method, by 
dipping, spraying or flowing-on. Many kinds of paints, 
enamels, color varnishes, japans and varnishes are 
baked, but any material baked must be made for that 
purpose. Ordinary automobile air drying materials 
may be hastened in their drying by being placed in 
hot rooms having a temperature of from 90 degrees to 
100 degrees F. A dust proof, ventilated hot room is a 
fine thing for job shops. 

In construction the ovens are generally alike as to 
principle. Size, drying racks, conveyors, methods of 
heating, ventilating, regulating, dust and moisture con- 
trol differ in detail as used by manufacturers of various 
articles. 

In the automobile trade gas is most generally used 
for heating, although the very latest equipment is heat- 
ed by electricity. This avoids the problem of drawing 
off the flue gases and products of combustion resulting 
from gas heating which spot the enamel being baked 
if not carried out. Electric ovens require less venti- 
lating, and so keeping them dust free is less difficult. 
During the early bicycle days small ovens were heated 
by gasoline burners and by gas. Today many ovens 
for different products are heated also by steam and hot 
water radiators or coils of pipes fastened to the walls 
of the ovens. All that is required is a heating method 
which will maintain a steady temperature in the oven 
of from 100 degrees to 250 degrees F for most mate- 
rials. A thermostat is placed inside and connected 
with the heating system so it can shut off the heat 
when need be. And of course, an accurate ther- 
mometer is necessary. 

Humidity control is essential if the finest of finishes 



192 AUTOMOBILE PAINTING 

are to be produced. Moisture is taken into the oven 
with the air which in large plants is water washed to 
remove dust before it enters the oven. The air is 
forced through a chamber completely filled with fine 
sprays of water from many jets so arranged that the 
fresh air, which is forced into the chamber by a blower 
fan through a six to twenty inch pipe, cannot pass out 
of the chamber until it has forced its way through the 
water sheet. The water takes out every atom of dust 
and fibres. The air is then passed over steam or hot 
water pipes to be made very hot and to drive out 
excessive moisture before going into the oven. All of 
the air in an oven is changed about every three or four 
minutes in large manufacturing plants. Large suc- 
tion fans are used to force circulation. 

The humidity (amount of moisture in the air) is 
registered by an instrument called a hygrometer. 
Enamels and varnish color are baked with from 90" 
to 100° of humidity. Rubbing varnish requires about 
the same humidity, but finishing varnish requires but 
60 degrees to 70 degrees of moisture. Moisture retards 
the drying of the outside of the paint coat until the 
underside next to the metal is dry, thus insuring a 
hard, dry coat all the way through. 

Ovens used for small pieces are equipped with 
hooks, wire baskets or slatted shelves and racks to 
place the articles on. Fenders are hung from the ceil- 
ing on hooks. Axles, bodies and all heavy pieces are 
mounted on wheeled trucks which are rolled into the 
ovens and left during the baking. Some ovens are 
equipped with overhead rail conveyors and some with 
miniature railroad tracks upon which to carry the 
enameled articles into and out of the oven. 

Baking temperatures vary somewhat according to 
what each kind of material will stand. The manufac- 
turer who makes the materials should dictate at what 
temperatures it should be baked for finest results. The 
list of baking temperatures and the time required to 
follow is only a general guide. Experts in this line of 
work are coming to believe that a fairly long baking 



AUTOMOBILE PAINTING 193 

period at a moderately high temperature produces a 
more durable and finer appearing surface than a very 
high temperature for a short period of baking. Bak- 
ing at 150 degrees for eight hours is better than 250 
degrees for four hours. The priming and undercoats 
will stand and ought to be baked at a higher tempera- 
ture than the finishing coats. To secure a hard and 
dry surface all through and to avoid sweating, the 
primer should be baked at the highest temperature to 
be used and the finishing coat at the lowest. Often 
the last varnish coat is baked only for about an hour 
at 140 degrees to 160 degrees and then air-dried to 
finish in a hot room, 80 degrees to 90 degrees. 

With baking ovens cars have been finished from 
the metal up in as few as three and four days, but that 
is crowding the drying too close to expect durable jobs. 
In about eight or nine days the work can be done 
right. The oven offers more uniform drying condi- 
tions than can possibly exist outside of it, provided 
the heating and ventilating can be controlled. It also 
permits the use of more elastic varnishes without much 
drier in them which makes for durability of finish. 
Air drying of varnishes in a reasonable time requires 
the use of japans and drying agents which are bound 
to affect the durability some. 

BAKING TEMPERATURES AND TIME 

Priming Coats 110 to 160 degrees F for 2 to 3 hrs. 

Roughstuff Fillers 110 to 140 degrees F for 2 to 3 hrs. 

Enamel Surfacers 140 to 200 degrees F for 3 to 4 hrs. 

White 100 to 120 degrees F for 3 to 4 hrs. 

Lt. Greens, Grays, Blues 

and Yellows 170 degrees F for 3 to 4 hrs. 

Medium Grays, Greens, 

Blue, Yellows and 

Bright Red 200 degrees F for 3 to 4 hrs. 

Maroons, Browns and 

Olives 200 to 240 degrees F for 3 to 4 hrs. 

Black 200 to 400 degrees F for 4 to 6 hrs. 

Varnish, Finishing 100 to 160 degrees F for 2 to 4 hrs. 

Varnish, Color 100 to 120 degrees F for 3 to 4 hrs. 

Varnish, Chassis 110 to 120 degrees F for 2 to 3 hrs. 

Enamels for hoods and 

fenders 200 to 450 degrees F for 1 to 2 hrs. 



194 AUTOMOBILE PAINTING 

Baking paints, varnishes and enamels must be espe- 
cially tough, elastic and hard drying. They must not 
change color under the proper amount of heat or when 
subjected to the correct baking period. Too high a 
temperature or too long a baking period will discolor 
most any material. Whites especially take on a yellow 
cast from too much heat. 

All parts to be baked must be free from moisture, 
grease, dust and dirt. The parts should be air dried 
a few minutes and then consigned to the oven at a low 
temperature. The heat may then be raised gradually. 

As to the possible use of the baking process by job 
shop painters, it is obvious that the large oven for high 
temperatures, electrical equipment, highly developed 
ventilating and moisture control features are out of 
his reach. The small oven for fenders, lamps, hoods 
and such parts is entirely practical when built after the 
style ovens used a few years ago for bicycle enameling. 
Figure 36 shows the general construction of gas, steam 
and hot water heated ovens which may be made large 
or small to fit the articles to be finished. With small 
ovens not much attention is paid to washing the air 
or to humidity, although every precaution should be 
taken to keep out dust and not have the air taken into 
the oven from the room too dry. 

For body finishing the hot drying room shown in 
Figure 15 offers a thoroughly practical method 
for use by job shop painters in increasing production 
and the quality of their work. It is useful for drying 
paint and varnish applied in any manner. 

The use of small drying and baking ovens in job 
shops is increasing, although ovens large enough to 
hold one or more bodies arc impractical as yet, except 
for large manufacturers and they have their troubles 
with them. They are not to be desired and are not 
needed by the job shop, the hot drying room with a 
temperature of 85° to 95° turns the work out rapidly 
and is sufficient for the needs. 

The small oven, large enough for fenders, engine 



AUTOMOBILE PAINTING 195 

hoods, radiators, lamps and such parts which are 
subject to hard service and heat, is possible for every 
shop and is easily constructed. Such ovens have been 
in use many years and were in great demand a while 
back when the bicycle was so popular. Many repair 
shops put in such ovens and produce nice results 
after a little experience with baking colors and 
enamels. 

The ovens were simply constructed of sheet iron, 
using angle iron for the frame. The parts Vv-ere 
riveted together. A door with a small glass window 
through which the thermometer could be seen was 
placed in front. The top, bottom and sides were 
double with a dead air space of about three inches 
between sheets all around. The double bottom was 
made of extra heavy iron and was raised up off the 
floor about a foot. Lender this bottom was placed 
one or more gasoline burners, such as are used by 
circuses for lighting and by the corner popcorn 
stands. A supply of cooking gas piped into the overr 
would be much better. By this means the tempera- 
ture could easily be maintained at 100° or 250°, accord- 
ing to the requirements of the enamel used. Holes in 
the top covered with slides are used for letting out the 
gas. See Chapter XIII about baking for further 
details. 



CHAPTER XIV. 
The Enameling Process. 

This is but another variation of the automobile 
finishing processes which have come out of the old 
carriage practices as quicker and better suited to the 
requirements of the motor car. 

It contemplates the use of paint coats (enamels) 
containing quite a proportion of varnish, after the 
primer has been laid on, instead of flat drying lead, 
roughstuflf and color coats. The enamel materials 
used are specially made for that purpose by the same 
manufacturers as were listed in the chapter on Fac- 
tory Painting. To have exactly the right material is 
essential to success and since the enamel process may 
be operated with different methods of application the 
material must be mixed to flow and cover in a manner 
to fit the ordinary bristle brushing, air brushing, 
flowing-on, dipping or baking, as the case may be. 

While it is true that the enameling process is used 
almost entirely with specially prepared enamels and 
baking by manufacturers, there is no reason apparent 
to the writer why it cannot be used with great ad- 
vantage by the job shop painter. The material would 
be one of the first class hard drying enamels produced 
for house decorating such as "Vitralite," the product 
of Pratt 8i Lambert, varnish makers, Chicago. Over 
properly prepared grounds this enamel may be 
brushed on and it will produce a durable job. For 
very dark colors it is not so useful, but for finishing 
in white, all light tints and medium color shades 
Vitralite is excellent. It comes in various size pack- 
ages, half gallons, gallons and even smaller, in white 
only, but may be tinted to suit by adding Japan 
colors thinned a little and beat up with turpentine. 



AUTOMOBILE PAINTING \Z7 

There may be, and probably are, other first class 
enamels that could be used this way, but the writer 
is best acquainted with ''Vitralite" and "Ripolin." 
They dry hard, may be pumice stone rubbed and flow 
nicely and these qualities are essential. They are, of 
course, air drying enamels, not baking, although they 
may be handled to advantage in a hot room, 80° to 
95° R 

The enamel process as used by the painter or car 
owner is suitable for both new cars and those to be 
repainted. The work would proceed as per the paint- 
ing schedules given in Chapters V, VI and VII up 
to the point where the surface is ready for the first 
flat coat of Japan color. In place of the Japan color 
a coat of the enamel tinted to suit or white is flowed 
on full and freely, . after being thinned slightly with 
turpentine. The enamel is to be brushed on in the 
same way practically as varnish. A small area is 
coated in at one time, brushed out and smoothed off 
with light strokes to finish it completely before coat- 
ing in the next area about one foot square. Flow the 
enamel on freely with no attempt to brush it out 
very far. If too much is put on, it will run or fold 
over itself. These defects must be matched for and 
carefully brush off the surface before they set. Wipe 
the brush out as well as you can on the side of the 
pot before trying to pick up runs and sags. 

Allow not less than forty-eight hours for the 
enamel to dry. A longer time is a great advantage. 

Rub down the surface with powdered pumice and 
water as per Operation 9, and then wash up. 

Apply a second coat of the same enamel as it comes 
from the can, without thinning. At least three days 
are needed for drying before the car is ready for 
service. A longer time is quite some advantage in 
producing the most durable job. 

Lettering of initials and monograms must be done 
on top of this last coat, so a coat of pale auto finishing 
varnish over the letters only is needed to protect 
them. 



198 AUTOMOBILE PAINTING 

The advantages claimed by the supporters of the 
process are, chiefly, the reducing of the number of 
coats ; thus cutting down the labor, the cost and the 
time required for finishing a new car to six or eight 
days. When very light colors are used they are not 
thrown off shade by the last coat, in enamel finishing, 
as when the finishing coat is varnish. The best of 
varnishes, even, cannot avoid discoloring a delicate 
surface to some degree. The enamel method pro- 
duces a nice appearing surface with the minimum of 
material and that is a virtue to notice, knowing as we 
do that the metal body will never carry successfully 
as many coats as the wood carriage surface of old. 
Few coats, then, favor durability provided they are 
not too few to protect the metal and themselves. 

Briefly, the factory schedule using this finishing 
method reads about like this, subject to the usual 
variation in details as practiced at dififerent plants. 
The operation numbers refer to those listed in 
Chapter V. 

Clean the Surface Operation 1 

Sandpaper, No. IJ/2 to roughen up Operation 2 

Dust OfT Operation 6 

Prime Operation 3 

Putty and Touch Up Operation 4 

Sandpaper, No. 0. : Operation 5 

Dust Off Operation 6 

Enamel paste filler especially made for this purpose 
is laid on with a three-inch putty knife all over the 
surface, is allowed to set a few minutes and then 
scraped ofif clean except from any hollows or rough 
places where it is smoothed up and allowed to dry. 
This is handled like the putty glaze coat in Operation 
12. 

Sandpaper No. Operation 5 

Dust Off Operation 6 

Enamel Filler, thin with turpentine just enough to 
flow out level and lay on smoothly with a soft brush. 



AUTOMOBILE PAINTING 199 

Let dry hard. 

Stain Guide Coat Operation 8 

Rub with powdered pumice and water. .Operation 9 

Wash Operation 6 

1 Coat Enamel, colored, to dry flat. 

Rub with Horse Hair Operation 11 

1 Coat Enamel, colored, to dry eg-gshell gloss. 
Rub with powdered pumice and water. .Operation 9' 
1 Coat Enamel, colored, full gloss. 
Monograms or Initials, Chapter IX. 

- The finish may be left as above or the last gloss 
enamel coat can be, and sometimes is, rubbed just 
enough with powdered pumice and water to remove 
the gloss. A wash-up is made and a coat of clear 
finishing varnish is laid on. 

Having the correct enamels, this method offers^ 
quite some advantages over older ones, especially 
when coupled with the flowing on method of apply- 
ing the material. 



CHAPTER XV. 
Color Schemes. 

When it comes to the selection of a color or colors 
for use on an automobile one presumes a lot in attempt- 
ing to specify in detail just what color treatment 
.should be given this car or that; it is about on a par 
with an effort to advise a man concerning the color of 
his neckties, or a woman about her hats. Generally, 
.an automobile should be given the color its owner 
would like, provided it can be consistently done from 
the practical viewpoint and that colors selected may 
be expected to give reasonable service. In other 
words, the car owner should have as much freedom in 
the selection of colors as possible as long as such 
colors harmonize and are practically possible to pro- 
duce. There are, to be sure, certain standards of good 
taste to be observed here, as everywhere, when colors 
are concerned. One wouldn't expect a pure red and 
a pure yellow, nor straight purple and red to look well 
for auto bodies and chassis when these combinations 
are so obviously out of harmony used elsewhere. Nor 
can it be expected that *'loud" "flashy" colors which 
cause a car to be unduly conspicuous will give an im- 
pression of refined good taste. It is entirely possible 
to have one's car so painted as to be different than the 
average auto, but yet to have that difference show up 
as simple, quiet good taste rather than as a flagrant 
misuse of brilliant strong colors. In other words, 
have your car noticed because the color treatment is as 
pleasing as soft music, rather than that it is thrust 
upon one's sight like a circus van with its red and gold 
and fancy carvings. 

The owner who likes light colors, will select one 
of the Grays, Cream, Tan, Drab or Straw, while those 



AUTOMOBILE PAINTING 201 

who like darker shades choose Browns, Greens, Reds 
and Blues, which are not so dark in color as to be prac- 
tically black in appearance. The Chicago and New 
York automobile shows prove that the public is de- 
termined to break away from the conventional black, 
and, incidentally, from the other very dark colors as 
well, to the larger adoption of the light tints. Auto- 
mobile publications have been urging car users to get 
away from the sombre colors for finer surface effects, 

COLOR SUGGESTIONS AND MIXING FORMULAE 

A number of color schemes are tabulated here 
which harmonize perfectly. One will probably be 
found to suit, but if not, then it surely will be easier 
to decide on colors which will be just right for you 
after examining these. 

GRAYS. 

Taking up the color cards of different color manu- 
facturers we find quite a variety of names listed for 
this shade, but Gray like most colors may be mixed 
in such a large number of shades and still be consist- 
ently called Gray, that it is not surprising that we have 
so many names for it. What one manufacturer may 
be pleased to call Battleship Gray another lists as 
Torpedo Gray. To be sure, there may be a few de- 
grees difference between the two. Then there are 
other names given such as Monitor Gray, Detroit Gray, 
Cadet Gray, Moss Gray, French Gray, Pearl Gray and 
so on. They range in shade from a very light silver 
tone to very dark slates. As describing or identifying 
colors, names do not as a rule mean much more than 
numbers. One may make a pure Gray by adding a 
touch of Ivory or Coach Black to white lead, or Flake 
White as it is called in the carriage trade, and call it 
Battleship Gray or Detroit Gray. Who can say which 
name, if either, is correct? But that is neither here 
nor there. The point to remember is that you may 
easily mix any particular shade of Gray you wish 
simply by starting with a white base and adding a little 



202 AUTOMOBILE PAINTING 

black to it until it is nearly dark enough. Then if you 
want to warm it up add a touch of red, American Ver- 
milion, perhaps. If you want a blue gray add a bit 
of Prussian or Cobalt Blue (not Ultramarine Blue). 
And if you like the Grays with a yellowish tone add a 
little Raw Sienna, Chrome or any yellow pigment. 
The lighter shades of pure gray, and the most attrac- 
tive shades, are mixed by adding to the Flake White or 
white lead base a little Black and a little Raw Umber. 
The Black used alone with white gives a bluish cast 
to the Gray which the umber offsets. 

The Grays are exceedingly practical for auto paint- 
ing. They are cool colors, quite neutral in tone and 
among the easiest to keep clean for a car that is always 
on the go. 

A car painted wholly in Gray may not be overly 
attractive, but when you add to the Gray Body wheels 
painted in just the right shade of Red, Blue, Green or 
Yellow, as indicated in the color scheme suggestions 
to follow, you have a color treatment that is difficult 
to improve upon. 

Number 1. 

'3ody — Gray. A medium to light shade mixed by adding to 
Flake White a touch of Ivory or Coach Black and a little 
Raw Umber. 

'Wheels — Red. A fairly light shade having an orange tone. 
Add a little Chrome Yellow to American Vermilion, 
Coach Painters' Red or Phenomenal Red. Ground coats 
had best be white or pink. 

Number 2. 

'Body — Gray. A pure Gray mixed same as for Number 1 and 
not too dark. 

"Wheels — Blue. Just the right shade of Blue is needed to look 
best. Azure, or Yale Blue are very good just as they 
come in the can. Ultramarine Blue or Cobalt Blue to 
which a little zinc white has been added are suitable. 
Prussian Blue alone is not satisfactory as it has a green- 
ish cast. Many of the darker Blues are suitable after 
adding a little zinc to lighten them up so they will appear 
blue, not black. Ground coats for most blues ought to 
.be a light blue. 



AUTOMOBILE PAINTING 203 

Number 3. 

Body — Gray. A warm shade. Add to white base a little 
Ivory Black and a touch of Chrome Yellow. 

Wheels — Green. A fairly dark shade over quite light ground 
coats will show up sufficiently green, rather than as black. 
Milori Green, Fern Leaf Green and Coach Painters' 
Green, medium or light, are the correct shades. With 
real light gray bodies, wheels in Olive or Sage Green 
look well. 

Number 4. 

Body — Gray. A shade having a bluish tinge to it. Add Ivory 
Black to a Flake White base to produce a shade about as 
dark as is wanted. Then add a very small dab of blue. 
Most any blue except Ultramarine is suitable. 

Wheels — Yellow. A shade having a reddish or orange cast 
is needed. Medium Chrome Yellow is sometimes just 
right as it comes, but at others it is necessary to add a 
touch of Vermilion or other red to it. Ground coats, 
white or light yellow. 

Number 5. 
Body — Gray. A light gray made with Ivory Black and Flake 

White. 
Wheels — White. Pure White. Use Flake White or white 

lead ground coats and finish with white enamel. 

BROWNS. 

Of late the Browns, Tans, Drabs and the many- 
shades closely related to them have come into a well 
deserved popularity. As body colors there is about 
them a neatness and efifectiveness which brings every- 
one to the point of admiration, and one does not tire 
of them easily. They are serviceable and practical 
above all. 

These combinations are pleasing: 

Number 6. 

Body — Tan. A medium dark shade. Add to a Flake White 
base a small amount of Raw Sienna until the preferred 
shade is reached. About 1 part of Raw Sienna to 2 parts 
white is correct. 

Wheels — Cream. Make this by adding just a little Raw Sienna 
to Flake White or white lead for undercoats and to 
white enamel for the finishing coat. 



204 AUTOMOBILE PAINTING 

Number 7. 

Body — Tan. Use one part Raw Sienna to two parts Flake 

White. 
Wheels — Pure White. See Operation 24 about enamel. 

Number 8. 
Body — Tan. One part Raw Sienna to two parts Flake White. 
Wheels — Light Tan. One part Raw Sienna to three or four 
parts Flake White. 

Number 9. 
Body — Light Brown. Use Raw Sienna the same shade as it 

comes in the can. 
Wheels — Ivory. A tint that is nearly white. Add but a touch 

of Raw Sienna or Chrome Yellow to the Flake White. 

Number 10. 
Body — Light Brown. Raw Sienna color just as it comes in 

the can. 
Wheels — White. See Operation 24 about enamel. 

Number 11. 
Body — Bedford Stone. This shade really is in the brown 

class, although its name would not indicate it. Mix by 

adding a little Raw Sienna and just a touch of Drop 

Black ox Coach Black to Flake White. 
Wheels — Cream. Mix by adding a very little Raw Sienna to 

the Flake White base. 

Number 12. 

Body — Medium Drab. Another shade which really belongs 
in the brown class. It is a most serviceable and pretty 
one. Mix by adding a little Raw Umber and about half 
as much Raw Sienna to Flake White base. 

Wheels — Warm Drab. This may sometimes be called a dark 
cream. Mix by adding to the Flake White base about 
half as much Raw Umber as was used for the body color 
and nearly the same quantity of Raw Sienna as was used 
for the body color. 

Number 13. 

Body — Medium Drab. Same shade as for Number 12 sug- 
gestion. 

Wheels — Cream. Add a little Raw Sienna to Flake White 
base. 

YELLOWS. 



Yellows have been used rather extensively for the 
sporting roadster class of cars of the ''Mercer," "Stutz" 



AUTOMOBILE PAINTING 205 

and "National" type. The strong yellows which look 
so well on these cars of small painted surface areas 
are decidedly out of place on the larger body surfaces 
of the touring car and closed body pleasure cars. Even 
when used on the roadster type the strong vivid yel- 
lows ought always to be mixed to carry the orange 
cast to them rather than the greenish tone. Medium 
Chrome Yellow is suitable, while Lemon Chrome Yel- 
low and Canary Yellow are not. All pale yellows 
appear best over a pure white ground. Deep yellows 
are best over salmon ground coats made this way : 
4 to 5 parts white lead ; 1 part orange chrome yellow ; 
1 part burnt umber; 1 part Indian red. 

For the touring car and closed type pleasure car 
yellows having an orange cast make pretty colors 
when modified by adding white to them. 

Number 14. 
Body — Medium Chrome Yellow.^ For the roadster type or 

for a commercial car use this shade just as it comes in 

the can. 
Wheels — Cream. Mix by adding a very little Raw Sienna to 

the Flake White base. 

Number 15. 
Body — Same as Number 14. 
Wheels — White. See Operation 24 about enamel. 

Number 16. 

Body — Light Orange. Use one part Medium Chrome Yellow 
to eight or ten parts of Flake White, then add a touch 
of American Vermilion or Coach Painters' Red, just 
enough red to give a slight orange cast. 

Wheels — Azure Blue. Ground coats should be a lighter blue 
than the finishing color coat so the blue will not appear 
to be black. Use Azure Blue same shade as it comes in 
the can. 

Number 17. 

Body — Same as No. 16. 

Wheels — White. See Operation 24 about enamel. 

Number 18. 
Body — Warm Drab. Add a little Raw Sienna and about twice 

as much Raw Umber to the Flake White base. The tint 

will be a dark cream color. 
Wheels— Cream. Add a very little Raw Sienna to a Flake 

White base. 



206 AUTOMOBILE PAINTING 

Number 19. 

Body — Cream. Add a little Raw Sienna to a Flake White 

base. 
Wheels — Coach Painters' Red. Use this shade as it comes in 

the can. Ground coats, rriake a lighter red, using Flake 

White with the red. 

Number 20. 

Body — Cream. Same as No. 19. 

Wheels — Milori Green. Use the deep shade of this green as 
it comes in the can and over ground coats of a lighter 
green made by adding a little of this Milori Green to a 
Flake White base. 

Number 21. 

Body — Cream. Same as No. 19. 

Wheels — Olive Green. Mix with three parts Flake White to 
one part Raw Sienna. Then add a little Coach Painters' 
Green, Medium, to bring up to the right shade. A touch 
of Ivory Black may be needed. 

Number 22. 
Body — Cream. Same as No. 19. 

Wheels — Light Brown. Use Raw Sienna same shade as it 
comes in the can. 

BLUES. 

. Past seasons have witnessed the use of real blue 
on but few cars, largely no doubt because some other 
color occupied attention to the exclusion of others. 
The very dark blues, to be sure, have been in constant 
use for years, but most people call these shades black. 
Few notice that dark blues are not black until com- 
pared closely with a vehicle which really is black, an 
undertaker's funeral car, for instance. Most of the 
blacks even have some blue in them to offset the gray- 
ish tone given by black alone. 

A few cars are always to be seen wearing blue 
shades which are light enough to avoid being thought 
of as black. And when just the right shades are used 
they are excelled in beauty and attractiveness by no 
other color. 

The color combinations to follow will give a fair 
range of choice : 



AUTOMOBILE PAINTING 207 

Number 23. 
Body— Azure Blue. Use this color same shade as it comes 

in the can. The ground coats ought to be a lighter blue, 

made by tinting the Flake White base with a little of the 

Azure Blue. 
Wheels — Light Gray. Formula: 1 oz. Ivory or Drop Black. 

10 lbs. Flake White. 

Number 24. 
Body— Azure Blue. Same as No. 23. 

Wheels — Yellow. A very light tint. Formula: 1 oz. Me- 
dium Chrome Yellow. 2^ lbs. Flake White. 

Number 25. 

Body — Azure Blue. Same as No. 23. 

Wheels — Ivory. Formula: Yz oz. Medium Chrome Yellow. 
12H lbs. Flake White. 

Number 26. 

Body — Ultramarine Blue. Use same shade as it comes in 

can. 
Wheels — Straw. Formula: 1 oz. Raw Sienna. 8 lbs. Flake 

White. 

Number 27. 

Body — Ultramarine Blue. Use same shade as it comes in 

the can. 
Wheels — White. See Operation 24 about enamel. 

Number 28. 

Body — Light Ultramarine Blue. Formula: 1 oz. Ultramarine 
Blue; 5 oz. Zinc White. Ultramarine Blue should never 
be- mixed with Flake White or white lead. It will change 
lead carbonate (white lead) to lead sulphide, which latter 
7 uduct is black. Use Zinc Oxide for making tints with 
Ultramarine Blue. 

Wheels — Ivory. Same as No. 25. 

Number 29. 
Body — Light Ultramarine Blue. Formula same as No. 28. 
Wheels — Light Gray. Formula: Yz oz. Ivory or Drop Black. 
12H lbs. Flake White. 

Number 30. 

Body — Perfect Blue. Same shade as it comes in the can. 

The ground coats should be a lighter blue, or tinted with 

orange chrome yellow. 
Wheels — White. See Operation 24 about enamel. 



208 AUTOMOBILE PAINTING 

REDS. 

As body colors on pleasure cars the light and bright 
reds are most properly set aside, leaving them to the 
exclusive use of the fire department vehicles. The 
one exception to this is the use of a bright red on 
vehicles having small bodies or at least having com- 
paratively small surface areas to be painted with this 
color. The track type roadster is of the kind which 
may well carry the bright colors. And, of course, 
there are often business reasons for painting commer- 
cial cars in very bright and conspicuous colors. 

Especial care is necessary to have the red color 
pigments well protected with varnish to prevent rapid 
fading. 

Here are some color schemes: 

Number 31. 

Body — Vermilion. For the roadster. Use American Ver- 
milion same shade as it comes in the can, or add a bit 
of darker red if too bright. Ground coats to be a pink 
made with Indian 'Red and White, or pure white. 

Wheels — ^White. See Operation 24 about enamel. 

Number 32. 
Body — Wine Color Lake, Same shade as it comes fn can. 

The ground coats should be a medium dark red, not as 

dark as maroon. 
Wheels — Ivory. Same as No. 25. 

GREENS. 

These colors were popular with pleasure vehicle 
owners at least a hundred years before the automobile 
was considered a practical possibility. With our grand- 
parents and theirs a Brewster Green for the family 
carriage was just the right shade, and it is still a most 
popular and standard green. 

Some greens are not satisfactory because they fade 
too soon and do not render fair service. It is not dif- 
ficult, however, to secure good greens which are ser- 
viceable and permanent enough for all practical pur- 
poses. It is especially important to allow greens 
plenty of time to dry to avoid having several shades of 
the same color on the surface. 



AUTOMOBILE PAINTING 209 

The greens give you a restful color for the car and 
one that is always fresh and new to the eye. They 
offer many color combinations and possibilities. Here 
are a few of them: 

Number 33. 
Body — Milori Green. Same shade as it comes in can. 
Wheels — Straw. Same as No. 26. 

Nvimber 34. 
Body — Milori Green. Same shade as it comes in can. 
Wheels — White. See Operation 24 for enamel. 

Nimiber 35. 
Body — Coach Painters' Green. Same shade as it comes in 

can. 
Wheels — Light Gray. Formula same as No. 29. 

FENDERS. 

From the viewpoint of attractiveness alone a car is 
. usually most successfully painted when the fenders are 
the same color as the body. The body color on the 
fenders often does not show up mud and dust so prom- 
inently as do black fenders and hence is practical to 
that extent. 

Fenders take more abuse than other parts and are 
always the first to receive the knocks resulting from 
accidents. That means repairs and touching up with 
paint. Then the black fender has much the advantage 
because it can be easily matched, whereas some of the 
delicate body colors would offer quite a puzzle in 
matching unless the original formula were known. 

AXLES, SPRINGS AND FRAME. 

These parts are not at all prominent and there 
seems to be no good reason why they ought not always 
to be painted blue-black or some very dark color. They 
are usually covered with mud and grease which com- 
pletely hides any color put on them. Light colors 
especially are impractical for the under parts. 

When the wheels alone are painted with the second 
color, the color scheme is just as effectively carried 
out as if the second color were carried to axles, springs, 
etc. 



210 AUTOMOBILE PAINTING 

ENGINE HOOD. 

A better looking color treatment will result with 
most cars by letting the body color extend over the 
hood also. There are some cars, the sixes with long 
hoods and bodies, which are effectively painted with 
black hood. 

Hoods are often made black when the car is first 
painted because the engine heat may discolor some 
colors. The black is baked on. When it comes to 
repainting it is entirely safe to use most any color over 
this baked on black which remains next to the metal. 

WHEELS. 

The beauty and effective appearance of pure white 
and light, delicate tints for wheels is conceded by all. 
They offer some disadvantage, however, from the prac- 
tical standpoint unless care is taken not to overload 
the grease packing space in the hubs and thus cause 
the grease to overflow on to the spokes and rims. 
Worn out felt dust washers or a loose fitting rear axle 
housing will cause the same untidy smearing of the 
outside wheel parts. These are happenings which 
should not occur either on light tints or dark colors, 
but when they do the white and light tints, perhaps, 
look a little more untidy than dark colors. 

There is a way to handle white and light tints on 
wheels which make them quite as practical as any 
color. Figure 8 illustrates this method. It simply 
amounts to painting the spokes only with the white or 
light tint while the metal hub plates and rim are given 
the body color or some other darker color. For in- 
stance, a car having a medium to dark gray body may 
have the spokes of the wheels painted white while the 
hubs and rims are red. A green or dark blue body may 
have wheels painted the same way, using red hubs 
and white spokes, or ivory spokes. 



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Complete Air Brake Examination 

Questions and Answers *Lea. 2.00 

Westinghouse Air Brake System. Cloth 2.00 

New York Air Brake System Cloth 2.00 

Walsebaert Valve Gear Break- 
downs Cloth 1.00 

NOTE. — New Books and Revised Editions are marked* 



DRAKE'S MECHANICAL BOOKS 

♦Title I Style | Price 

Carpentry and Building Books 

Modern Carpentry. Two volumes . Cloth $2.00 

Modem Carpentry. Vol. I Cloth 1.00 

Modern Carpentry. Vol. II Cloth 1.00 

The Steel Square. Two volumes.. Cloth 2.00 

The Steel Square. Vol. I Cloth 1.00 

The Steel Square. Vol. H Cloth 1.00 

A. B. C. af the Steel Square Cloth • .50 

A Practical Course in Wooden 

Boat and Ship Building *Cloth 1.50 

Common Sense Stair Building and 

Handrailing Cloth 1.00 

Modern Estimator and Contrac- 
tor's Guide *Cloth 1.50 

Light and Heavy Timber Framing 

Made Easy Cloth 2.00 

Builders' Architectural Drawing 

Self-taught Cloth 2.00 

Easy Steps to Architecture Cloth 1.50 

Five Orders of Architecture Cloth 1.50 

Builders' and Contractors' Guide Cloth 1.50 

Practical Bungalows and Cottages* Cloth 1.00 

Low Cost American Homes *Cloth 1.00 

Practioal Cabinet Maker and Fur- 
niture Designer Cloth 2.00 

Practical Wood Carving Cloth 1.50 

Home Furniture Making Cloth .60 

Concretes, Cements, Mortars, Plas- 
ters and Stuccos Cloth 1.50 

Practical Steel Construction Cloth .75 

Practical Bricklaying Self-taught. Cloth 1.00 

Practical Stonemasonry Cloth 1.00 

Practical Up-to-date Plumbing .... Cloth 1.50 
Hot Water Heating, Steam and 

Gas Fitting *Cloth 1.50 

Practical Handbook for Mill- 
wrights Cloth 2.00 



NOTE. — New Books and Revised Editions are marked* 



r 

DRAKE'S MECHANICAL BOOKS 


y * Title 


1 Style 1 


Price 


Painting Books 






Art of Sign Painting 


*Cloth $3.00 


Scene Painting and Bulletin Art . . 


*Cloth 


3.00 


"A Show at" Sho'Cards 


* Cloth 


3.00 


Strong's Book of Designs 


*Lea. 


3.00 


Signist's Modern Book of Alpha- 
bets 


Cloth 


1.50 


Amateur Artist 


Cloth 


1.00 


Modern Painter's Cyclopedia 


Cloth 


1.50 


New Stencils and Their Use 


.*Cloth 


1.25 


Red Book Series of Trade School Manuals^ ' 


1. Exterior Painting, Wood, 
Iron and Brick 


Cloth 


.60 


2. Interior Painting, Water and 
Oil Colors 


Cloth 


.60 


3. Color« 


Cloth 


.60 


4. Graining and Marbling 


Cloth 


.60 




Cloth 


.60 


6. The Wood Finisher 


Cloth 


.60 


New Hardwood Finishing 


Cloth 


1.00 


Automobile Painting 


* Cloth 


1.25 


Estimates, Costs and Profits — 
House Painting and Interior 
Decorating 


•Cloth 

s are ma 


1.00 

rked* 

J 


NOTE. — New Books and Revised Edition 






DRAKE'S HOME 'STUDY BOOKS 

*Trt:le | Style | Price 

General Instruction and Reference Books 

Putney's Law Library 

(12 volumes) Buckram $60.00 

Bookkeeping Self-taught Cloth 1.00 

Complete Courses in Bookkeeping, 
Including Blank Books and 
Supplies Cloth 7.50 

Elementary Chemistry Self-taught Cloth 1.00 

Picture Making for Pleasure and 
Profit Cloth 1.25 

Complete Courses in Civil Service.* Cloth L50 

Felt^s Parliamentary Procedure. . Cloth .60 

McClure's Horse, Cattle and Sheep 
Doctor •Cloth 1.25 

Practical Lessons in Hypnotism 
and Magnetism Paper .50 

Practical Lessons in Hynotism 
and Magnetism Cloth 1.00 

Chadman's Dictionary of Law. . . . ^ Lea. 6.00 

Modern Magician's Handbook. ... Cloth 1.50 

White House Handbook of Ora- 
tory Cloth 1.00 

Standard Cyclopedia of Receipts. Cloth 1.25 

American Star Speaker and Elo- 
cutionist Cloth 1.25 

Swimming and Life Saving Paper .30 

Words as They Look (Webster's 
System of Memorizing Easy 
and Difficult Words) Cloth .50 

Astrology (Were You Bom Under 
a Lucky Star?) Cloth 1.00 

NOTE. — New Books and Revised Editions are marked* 



J 



I 



DRAKE'S HOME 'STUDY BOOKS 

*Title I Style | Price 

General Instruction and Reference Books 

Ropp^s Calculator — 

Style A. Large Size. . . .Moroccoline 1.25 

Style B. With Flap Leather 1.00 

Style C. Pc^-ket Size .... Moroccoline .50 
Style D. Vest Pocket. . .Leather 50 

Albertus Magnus (Egyptian Se- 
crets) Cloth 1.00 

Sixth and Seventh Books of Moses. Cloth 1.00 

Drinks as They Are Mixed Cloth .25 

Drinks as They Are Mixed Lea. .50 

Guide to Successful Auctioneering. Paper .25 

Safe Methods of Stock Specula- 
tion Cloth .5§ 

Gypsy Witch Fortune Telling 
Cards Per Pack .50 

Mrs. Parker's Monologues and Plays 

Monologues, Stories, Jingles and 

Plays *Cloth $1.00 

New Monologues and Dialect Sto- 
ries Cloth 1.00 

Mary Moncure Parker's Plays — 

Powder and Patches Paper .25 

When Your Wife's Away Paper .25 

Lore Behind the Scenes Paper .15 

Mrs. Gadabout's Busy Day Paper .15 

Black Art Paper .15 

A Day at the Know-It-All 

Woman's Club Paper .25 

The Rehearsal Paper .15 

The Princess Innocent Paper .15 

A Quiet Evening at Home Paper J.5 

A Colonial Dream Paper J.5 



NOTE. — ^New Books and Revieed Editions are marked* 



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